Welcome To Chicago. This Town Stinks Like

Consider: For All The Gobbledegook [film Studio] Executives Spout About Backstory, All That We, The Audience, Want To Know Is What Happens Next. That's The Only Thing That's Going On. . . . Character Is Nothing Other Than Action, And Character-driven Means The Plot Stinks, And You'd Better Hope The Star Is Popular Enough To Open The Movie In Spite Of It.

The Most Charming Of Theories Holds That Someone Other Than Shakespeare Wrote Shakespeare's Plays -- That He Was Of Too Low A State, And Of Insufficient Education. But Where In The Wide History Of The World Do We Find Art Created By The Excessively Wealthy, Powerful, Or Educated?

In Playwriting, You've Got To Be Able To Write Dialogue. And If You Write Enough Of It And Let It Flow Enough, You'll Probably Come Across Something That Will Give You A Key As To Structure. I Think The Process Of Writing A Play Is Working Back And Forth Between The Moment And The Whole. The Moment And The Whole, The Fluidity Of The Dialogue And The Necessity Of A Strict Construction. Letting One Predominate For A While And Coming Back And Fixing It So That Eventually What You Do, Like A Pastry Chef, Is Frost Your Mistakes, If You Can.

The Avant-garde Is To The Left What Jingoism Is To The Right. Both Are A Refuge In Nonsense.

A Dramatic Experience Concerned With The Mundane May Inform But It Cannot Release; And One Concerned Essentially With The Aesthetic Politics Of Its Creators May Divert Or Anger, But It Cannot Enlighten.