A Quote by Theresa Rebeck
The economics of theater are painful. I still think that the theater community should be looking much more rigorously at how to let the playwright keep the money they make.
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The economics of being a playwright are abysmal. I like to think of the work I do out in Hollywood as a way to actually make a life in the theater easier.
I did as much theater as I could. I worked at a theme park and a Bible theater and a community theater.
I'm constantly involved in theater, looking at theater, trying to do work in theater, support theater. And that's kind of my creative passion.
It's wrong to make a living off the theater. Theater should be supported, like redwood trees. You should make your living - whether you're a writer or an actor or a director - in movies or commercials. But you do theater out of love.
I'm a theater guy at heart; I love the theater. I was lucky enough to spend a good decade and a half in the New York theater community.
When you're on stage, you're playing to whoever is in the back of the room, and TV and film is so much more detailed and nuanced, but I think that's what I always wanted to do. As much as I love theater and musical theater and would love to do it again, I really love the subtleties of film and theater acting.
I looked at theater, in the sense that theater is unmanipulated. If I want to pay more attention to one character on stage than another, I can. I think there's not enough theater in film and not enough film in theater, in a way.
I think a playwright must be his own dramaturg. I believe in a theater where the director and the playwright work together to create what they need.
The best movie theater in the world is in a dingy basement on Manhattan's Upper West Side. The worn seats are painful. There are probably bigger screens in half the apartments in the complex above the theater. And forget Fandango; the theater barely has a website. You want to buy a ticket? Get in line.
I do think that theater is a great venue for science fiction, and not just adaptations but also original work. I also think some of the greatest classics of theater have elements of SF, but in theater, as in publishing, sometimes people make arbitrary distinctions.
I think theater is very much my natural home. But the truth is that the older I've got, and the more I've written film and television, I find it incredibly hard to write theater.
I think movies have much more magic than the theater. Theater can be a magical experience, but movies thrust their subjectivity on you in a more profound way.
I think I'll always be a better playwright than a pundit, but I believe that writers should be public intellectuals and that theater, even more than film, is a place of public debate.
I took business and economics courses. More than anything, I learned the proper steps and the things that need to be outlined. You have to keep your books: how much money you made, how much money you're spending, what you profited, and what you're gonna need for expenses.
I was interning at a children's theater group in Kentucky - that was my first job out of college. I had jumped around a couple of regional theaters, and I was about to go back to Maine to work at a summer Shakespeare theater there. I didn't want to just jump around the country from gig to gig. I really wanted to go to a city and get involved in a theater scene and a theater community.
I do come from a theater background, where the playwright is optimal and king and you have to serve the playwright. So I am, of course, a huge fan of scripted everything.
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