“You have a strange relationship with calamity when you're a writer: you write about it as an artist, you objectify and fetishize it. You render life into material, and that's a creepy thing to do.”
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You have to have hope. It's irresponsible to give false hope, which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist, which quite a lot of playwrights, especially playwrights younger than me, have become guilty of.
If you know that life is basically going to be horrendously difficult, at best, and all but unlivable at worst, or possibly even unlivable, do you go on? And the choice to go on is the only thing that I think can be called hope. Because if hope isn't forced to encounter the worst possibility, then it's a lie.
I'm happy that I feel a little less out of place in filmmaking than I once was - but it's almost impossible for a playwright in the U.S. to make a living. You can have a play, like I did with 'Angels, ' and it still generates income for me, but it's not enough for me to live on and have health insurance.
Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.
