There are probably brilliant people, geniuses, alive today who don’t even know how to say, “Hello, how do you do?” because their minds are absorbed with electronic images.
BETH HENLEYI did write a couple of original screenplays, but I’d rather write plays.
More Beth Henley Quotes
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The next thing I wrote was in a writing class at night school. It was about a poor woman who worked at a dime store and who was all alone for Christmas in Laurel, Mississippi.
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That was always my inclination, to start on a new play before the other one gets done, because at least you’ll have something to go back to if that play gets trashed.
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In movement class, you had to lie on the floor and get your alignment in to pass the class.
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And all writing is creating or spinning dreams for other people so they won’t have to bother doing it themselves.
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I did write a couple of original screenplays, but I’d rather write plays.
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The impetus behind going to graduate school was a year after graduating from college spent in Dallas working at the dog food factory and Bank America and not having met success in my chosen field, which at that point was being an actress.
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I love writing for the screen.
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I was just restless with being in school; so I went out to Los Angeles.
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What I loved about the acting class was that you got to think all day long about a person that wasn’t you, and figure out why they were sad and what they wanted, what they dreamed.
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My first few plays took place in the South and even The Lucky Spot was in the thirties but in Louisiana.
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I tried to start a theatre in LA and failed miserably, but I was probably not meant to raise money.
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I love to work, although sometimes I can spend whole days doing nothing more than picking the lint off the carpet and talking to my mother on the phone.
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I just loved being divorced from my own wretchedness.
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The most glorious thing about working in the collaborative art is when you have somebody like Susan Kingsley or Kathy Bates who are better than your play.
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Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.
BETH HENLEY