I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.
And I think the female creative urge is intrinsically biologically linked to our ability to give birth to a child, even if we've never... I've never given birth, but I feel like it's part of our psychology.
And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, 'Hmm, there's half a page that's good here.' Then you throw out everything else.
I grew up in L.A., and I don't think I've seen L.A. onscreen in a way that felt real to me. There are definitely movies, but they are few and far between.
I love to walk around New York. Honestly, that's like the best thing, to walk over to Park Slope and go visit my friend Betty and take her dog out in the park or go walk across the Brooklyn Bridge. I really dig being outside and getting to see everybody in the street.
I read a lot of plays as a kid, but I didn't see that many plays, so I feel better-versed in film history and film structure. I just think it's easier to think in pictures.
I think movies have much more magic than the theater. Theater can be a magical experience, but movies thrust their subjectivity on you in a more profound way.
I've always really been interested in the Pygmalion myth and both what it has to say about creativity and what it has to say about relationships between men and women.
When I look back, I can say that the summer when I was 19 was a formative time for me. But at the time I just thought I was making tofu every night for dinner and going to work.
Writing-wise, I like to have a lot of things on the burners at once, because when I hit a wall, I like to move on to the thing I haven't hit a wall on.
