I'd like to just say that there's nothing darker than 'Old Yeller' and 'Bambi' and some of the early Disney stuff.
I've grown more and more appreciative of good writing, and I now really hope I can become a better and better writer.
If you're like me and nosy, you're always eavesdropping on other people's conversations.
When you're young, you envision happiness in such an idealized way.
I did 'Impromptu,' which was a thrill and a horror all at once - my first movie and having to do it in Paris, and my wife wrote it, and I had some difficulties on the set, blah, blah, blah.
That's the thing about dreams - they're ineffable. If you can get to the bottom of it, it's not a dream.
I'm never so into the three-act movie thing. I know that's the form that people talk about, but it seems to me, in the movie, you just have to keep charging forward. You couldn't start over again like you do after an intermission. You just had to keep the plot moving forward.
It so fascinates me how we always laugh when somebody falls on a banana peel, how comedy and injury are often so interwoven. I've always been a sucker for that.
Good musicals, a strange world, seem so easy. People say, 'Ohhh, it's magic.' Nothing's magic. A thing doesn't jell. Adapt. Change the rhythm. Shorten the scene. Rewrite the character. Maneuver the waters. Seeming easy is why so many shows aren't good.
I am thrilled to receive the Sondheim Award from the wonderful Signature Theatre. I have already received the invaluable gift of over twenty-five years of collaboration and friendship with Steve. Now I get to have his award, too!
I designed a theater magazine that was full of plays and essays about the theater, and then I worked at a theater school. By osmosis or something, I was learning from reading plays and not being analytical about them, but when I would read them, the joy in me was mostly from imagining them in my head and visualizing them.
