The best shows I've done, the writers, actors, and directors have been pretty much left alone - maybe given a little guidance to make it a little more this or more that. But the heavier the hand on the show, I find, the more troubled the show is.
Yes, I'm happy with Alan Ball's production of my novels.
You must keep people happy backstage because that affects what's onstage. During a run, the playwright feels like the mayor of a small town filled with noble creatures who have to get out there and make it brand new every night. When a production works, it's unlike any other joy in the world.
Lemuel Ayers had had a huge success producing and designing Kiss Me, Kate. He wanted to produce this as a musical. I got the job. It was a professional score.
The best paycheck you can get as a producer and creator is when people are happy to be on the show.
Getting movies developed doesn't do me any good as a producer. It only does me good to get movies made.
The success of a production depends on the attention paid to detail.
I understood very little about the significance of the Tony before, but I've learned that it makes a huge significance to whether or not your show is going to run.
If you get the right cast, half your work is done.
