Guess quote

Richard Greenberg [1958-0] American

Rank: 104
Playwright

Richard Greenberg is an American playwright and television writer known for his subversively humorous depictions of middle-class American life.

Quote	Tags	Rank
I'm sort of anti-Aristotelian. I want to get an entire life onstage while conveying a sense of how time feels, how unstoppable it is, and how we don't really know what's going on because as we're trying to weave, it's weaving us.		101
I do think the past changes at a slower rate. It sits a little more still for its portrait.		102
When we watch a play under the standard circumstances, we've lost volition and time is passing. A still play feels like an existential threat.		103
I want to be a playwright the way people are bank tellers. I want to keep doing it and have it go steadily and smoothly.		104
When you're writing plays, it's possible to believe you don't have any real world skill. When you're adapting, it is really all about the mechanics, so you feel closer to, I don't know, an accountant or someone who has a body of information. It's not all about temperament.		105
I came to New York, and it was fascinating and intimidating and yielding, and all the stuff it's supposed to be. But whatever the abstract essence I was seeking, I couldn't find exactly that.		106
The idea of a rupture between acts occurs in a number of my plays.		107
Frankly, seeing my plays with an audience is something I do with gritted teeth; I find the experience very difficult. I love the moment when you have just the dress rehearsal, when no one's there; that's kind of the peak to me. When people start filing in, I like to file out.		108
I was formed by 'The Forsyte Saga' marathon. There was something about seeing all those events telescoped that was unbelievably moving: that sense of time as something that can be tinkered with.		109
You do think, if you have your druthers, 'I want to sort of be, not anonymous, but unknown'. But you don't have your druthers in life, do you?		110
It's weird, because I don't feel prolific. I don't write anything for months at a time.		111
My mother wanted me to be a writer. But she was a child of the Depression and never understood that she wasn't poor. So, you know, the idea of not having a job, it would creep through. But she tried very hard to be subtle about it.		112
I think I can be an intimidating energy in the room. I think I come in with an aura of wanting results because as the playwright, I know how it goes, and there's the thought, 'Why can't they catch up?'		113
It seems that the hurdle you have to jump over is everyone's informed opinion. When you're a young playwright, you're probably too precarious in your own technique to understand that when these seemingly informed opinions are contradicting each other, it becomes this paralyzing monolith.		114
I don't write a play from beginning to end. I don't write an outline. I write scenes and moments as they occur to me. And I still write on a typewriter. It's not all in ether. It's on pages. I sequence them in a way that tends to make sense. Then I write what's missing, and that's my first draft.		115
I think I'm a writer, and it's my job. People in other professions are expected to do their jobs all the time. Why shouldn't I?		116
I like the Mets. I'm interested in the Mets.		117
My friends and family have been so well trained that they know I really mean it when I say that I don't care if the review is good, because that can be as dangerous as when it's bad. It's less demoralizing, but it can be just as confusing.		118
I started in the era when Hollywood reveled in being the most cost-inefficient industry on the planet. They used to commission a hundred scripts for every one they made.		119
People talk about alienation in the city. Diners are a place where you feel comfortable, an extension of your house.		120
By the time I started writing plays, Broadway was never an expectation, so it's never been central.		121
My usual route is, I do a play at South Coast Rep, then there's time between and I revise it, and then I take it to New York.		122
For some reason, 1968 is a touchstone year for me. I think it was the first year I felt fully conscious.		123

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