I try not to write more than two or three, I try to just write one if possible, I write till the end at least a draft of a play or a novel; but sometimes, I'll take a break for a couple weeks for a project that is paying me money like a television project which I try to stay away from just to stay financially ahead of the game.
My life has been in shambles, like my personal relationships, my laundry, paying bills now I have someone who pays my bills and it's always been a challenge because it overwhelms me.
When I am directing, it is much, much, much, much, much different. I'm a much more practical person in the world, I show up on time, I am very rigorous about scheduling, and I am very focused. But when I'm writing I am just a big, irresponsible mess and I'm just impossible to get in touch with, and I don't spend time with friends.
It's been hard for me to not write, and that's the only process I can speak to I guess, it's so compulsive and I need to do it all the time that sometimes I make myself not do it so I can actually tend to my life.
It's strange, people have asked me what my schedule is and what is my process like, and I can't even answer it.
When I'm directing, I'm pretty much not writing, but when I'm not directing I am writing a lot.
A typical day for me is I'm writing when I'm not directing.
I think because my brother was an actor and I just saw how he struggled through, I guess I'm sensitive to it.
I think auditioning can be very reductive and I just hate how actors work really hard and most of them aren't going to get the job, and I hate putting them through that.
I feel that I'd rather know an actors' work, or have an instinct about them and sit down and have coffee with them, or I'll see them in something and I'll see if I can get along with them in some way, shape, or form.
I began stealing a lot of ideas from other directors I had worked with.
I find auditioning to be a very illusive process, where actors come in with this really big result with no process, so it's a lie already at work.
I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, "well if I'm going to fight against this, I should learn how to direct".
Sometimes when I'm directing, the stage manager will have a good idea and that's okay with me.
I don't like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.
The rooms I tend to be in are pretty democratic and the best idea wins.
I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter.
I just love working with actors, and I love working with writers, working with designers.
When it's just a few scenes and a couple of actors behaving in a room, I feel very confident with that.
I think I'm a little more daunted by when the machinery of the play is really huge.
I don't put big concepts on my work, and it's all often about keeping actors in a room together and not letting them leave.
What I've learned in the last few years is that I am merely a storyteller.
I think, for me, when I direct my own work it's just an extension of the authorship.
I've never really felt that I've had the right hair cut, or had the right clothes.
I've never really felt good at the parties, but I have enough friends now that I feel social, I used to feel very antisocial, but I think the theater helps.
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