Will Hall
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Will Hall
Will Hallis an American mental health advocate, counselor, writer, and teacher. Diagnosed with schizophrenia, he is a leader in the peer support movement and is an organizer within the psychiatric survivors movement. Hall advocates the recovery approach to mental illness and is recognized internationally as an innovator in the treatment and societal response to psychosis...
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Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.
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We are dealing with water 250 feet deep and recovering and locating small objects ... is a daunting effort.
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The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker I know is speaking clearly to the audience 'right now.'
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I don't really find things funny unless they're deeply tragic at the same time. I think if you're funny just for the sake of being funny, it's just frivolous nonsense. To me, all the best comic plays have been written about really serious and rather bleak things.
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I don't think theatre has changed; it's society that has changed.
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I only tend to think of the week ahead, to keep my eye on the ball and question whether a full stop is in the right place. It's easy to get distracted by the wrong things. If you start thinking of grand gestures, it's going to be a lot of hot air. You have to be logical. The theatre is a very logical place.
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There is absolutely no point in not being a populist. What I feel emboldened to do is to take something which is a minority interest and make it accessible without dumbing it down. I'm such an enthusiast for peculiar things, things that are perhaps a bit avant-garde, and try and involve everyone.
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My generation of playwrights have grown up writing for studio theatres, and so the task of writing for more than ten or so actors is a huge challenge. Logistically, it's like doing an enormous Sudoku. Making sure everyone is in the right place at the right time in the right order instantly sends me into a cold sweat.
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I always call 'Billy Elliot' a fantasy autobiography because I never wanted to be a dancer, but I got a lot of stick from the other kids about wanting to be a writer and being interested in drama.
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I come from a tradition where the writer writes a play for the actors, rather than for himself, and the dialogue is made to work onstage, so it needs actors to help shape it. So you never get a play right straightaway.
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The theatre has always been voraciously omnivorous. Dramatists have always raided every medium to find grist to their mill: myths, folk tales, newspapers, novels, films, works of art of all kinds.
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What we hear more than anything is the state doesn't have any business subsidizing or building a capital project at a church-chartered institution.
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The real fountain of youth is to have a dirty mind....
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Well, I was fourteen in Texas. But I looked twenty-five.