Douglas Carter Beane
Douglas Carter Beane
Douglas Carter Beane is an American playwright and screenwriter. Born in Wilkes-Barre, Pennsylvania and raised in Wyomissing, Pennsylvania, Beane now lives in New York. His works include the screenplay of To Wong Foo, Thanks for Everything! Julie Newmar, and several plays including The Country Club and The Little Dog Laughed, which was nominated for the 2007 Tony Award for Best Play and As Bees in Honey Drown, which ran at New York's Lucille Lortel Theatre in 1997. Beane often writes...
NationalityAmerican
ProfessionPlaywright
CountryUnited States of America
If I'm seeing you, you're going to influence me. I'm sorry - I'm just that way. I'm a big sponge. You can't copyright an aesthetic.
I think it's a very ephemeral thing, what makes a show a success.
Dietz and Schwartz have sort of fallen by the wayside a little bit, and they are up there with Rodgers and Hart and Irving Berlin and Cole Porter. They are the finest of the revue composers - their stuff is so good and so strong.
I went into Xanadu going, 'I really dislike this movie - let me try to make it something wonderful,' but with 'The Band Wagon,' I really revere this movie. It's really a beautiful movie musical. And, yet, because I'm a writer and look at it that way, I see that there are faults in it.
My favorite moments are the moments everyone cries over. I see people in the audience crying, and I go, 'I did that, too. I don't just do the jokes. I also do the cries.' Jokes and cries, jokes and cries. That's all I'm here for, people.
I've gone from a kid who was sneaking out of my childhood house and lying to my parents to do shows in a community theatre in Reading, PA, to now having two shows on Broadway opening within two months of each other. That's sort of crazy, that trajectory.
I have very important phone messages that will be playing Broadway. An evening of my tweets I think is going to be booked into the Golden Theatre.
I've seen nearly every Encores! show. I love the second acts so much because you just see desperation and inspiration in equal measure.
When you do a film, when you do a television show, eventually someone comes along and will say to you, 'Don't say that because, one, you will offend someone, or, two, no one will get that. Someone's going to be confused by that, not get the reference and feel abandoned, and then they will get angry at the entertainment.'
When people say 'Lysistrata' has always been seen as an anti-war play, what's interesting is to not make it an anti-war play, because I actually think there are important times to go to war in this world. That's just the reality. But what's interesting is the not caring.