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It is a great pity that every human being does not, at an early stage of his life, have to write a historical work. He would then realize that the human race is in quite a jam about truth.
No matter what you're going through, as long as you have some specific emotion, whether it's positive or negative, it is all stuff that you can use on stage.
My philosophy is that the people around us are there doing as much work if not more work behind the scenes and they're the last people you would ever be unkind to, so I hope I'm not a diva off stage.
But on stage you're able to just take the character from one point to the end and it's a fluid, organic piece. It's about being completely present all the time, right there in the moment.
In film and television you have to be able to see the whole picture in a different way than you do on the stage because you shoot out of order and you're working with technology.
By the time a writer comes onto a project (if they're being hired as a contractor) the main character has usually been designed, as that's always done during a project's pitching stage.
It was tough doing 'Underneath the Lintel' in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.
If someone had asked who could stage the best intervention with a crazy woman who had formerly been an undead monster, Sydney Sage would have been my last guess.
But I also know in standup, there's nowhere to hide. You get on stage and you deliver, or you are eviscerated and you are thrown into a pile of bodies at the bottom of a mountain.
With Twitter, you just want to make people laugh in their meeting; on stage, people have paid for their tickets with their hard-earned money, so I owe them the truth as I experience it.
I once heard a woman laugh at that most tragic moment in all drama, the off-stage shot in "The Wild Duck," and I afterward had her killed, so there will be no more of that out of her.
In the theatre, you are in love with what is on the stage, with the moment. You just don't get that with movies or videos, or TV, where you know that what you are seeing is repeatable.
When you're on a sound stage and you're shooting a fire stunt, this weird thing happens where the fire eats up all the oxygen and everybody gets a little dingy.
Kaisers and Czars will strut the stage Once more with pomp and greed and rage; Courtly ministers will stop At home and fight to the last drop; By the million men will die In some new horrible agony.
Some audiences can shake and bang their heads on the stage to riffs all night long, but subtlety is an art that must be mastered if you're going to be remembered.
If you put anger in the writing, then it's like an actor crying on stage. The audience will not cry with the actor and in some way inure itself against the emotion.