Theatre · The Creative Process

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I'm really interested in the relation between performance and ritual. Where do those two separate?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.“I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“We look at creative work as though the very creative process itself is something good. These are tools of expression, and like any tool, you can use them to damage something or to make something. They can be turned to very malign purposes, for instance, in the operas of Wagner. So I wanted to do this set of books, I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“When I was working at the Times and the Times Magazine, on one Tuesday morning, the towers fell. September 11, 2001. The magazine had a 10-day lead time, so it was a weekly that was essentially 10 days old by the time it came out. We came to work and realized the world had changed, and the entire process, the magazine had been made for over a hundred years, had to be thrown out the window. We had to create a new magazine in 36 hours that would in some way speak to this very different, scary, and interesting world we were now in. In those 36 hours, we usually would take months to produce a magazine. If you take all of its aspects, it's a long journey. However, we made a magazine in 36 hours that, in some ways, was the best magazine I ever made because of the urgency of the moment.”Adam Moss was the editor of New York magazine, The New York Times Magazine, and 7 Days. As editor of New York, he also oversaw the creation of five digital magazines: Vulture, The Cut, Daily Intelligencer, Grub Street, and The Strategist. During his tenure, New York won forty-one National Magazine Awards, including Magazine of the Year. He was an assistant managing editor of The New York Times with oversight of the Magazine, the Book Review, and the Culture, and Style sections, as well as managing editor of Esquire. He was elected to the Magazine Editors' Hall of Fame in 2019. He is the Author of The Work of Art: How Something Comes from Nothing.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“This novel is the third in what I see as a little set of books that all feature unnamed female protagonists who have experienced varying degrees of passivity and agency in their lives. They're all women who speak the words of other people.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I'm really interested in the formal aspect of characters who are channeling language, who are speaking the words of other people, and in characters who are aware of how little agency they actually have, who have passivity forced upon them, who perhaps even embrace their passivity to a certain extent but eventually seek out where they can enact their agency.”Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

JULIE ANDREWS (Oscar, Tony & Pulitzer Prize-winning Actress & Singer · The Sound of Music, Mary Poppins) Andrews shares her experience working on Mary Poppins, revealing behind-the-scenes secrets about the character. She reminisces about her collaboration with Walt Disney and Tony Walton.ETGAR KERET (Cannes Film Festival Award-winning Director & Author) Keret discusses the profound impact of his parents' survival stories from the Holocaust on his work. He explores how extreme human experiences can lead to extraordinary resilience and creativity,JOHN PATRICK SHANLEY (Oscar, Tony & Pulitzer Prize-winning Writer/Director · Doubt, Moonstruck, Joe Versus the Volcano) Shanley highlights the invaluable lessons and life experiences gained from his time in the Marine Corps. He emphasizes the significance of diverse interactions and communal living, underscoring how these experiences shape both his artistic vision and societal views.JOY GORMAN WETTELS (Exec. Producer of 13 Reasons Why, UnPrisoned · Founder of Joy Coalition) Joy Gorman Wettels reflects on her theatrical upbringing and the influence of her mother's passion for Sondheim and Neil Simon. She shares touching memories of the LGBTQ+ community in her life and how these early experiences cultivated her love for storytelling and community theater.PAUL SCHRADER (Screenwriter/Director · Taxi Driver, Raging Bull, First Reformed) Schrader analyzes the lasting impact of Taxi Driver on his work. He details his technique of immersing the audience into the protagonist's perspective and psychology.CHAYSE IRVIN (Award-winning Cinematographer · Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee's BlacKkKlansman) Irvin discusses using mise-en-scène to represent characters' psychological states.MANUEL BILLETER (Cinematographer · The Gilded Age · Inventing Anna · Jessica Jones · Luke Cage) Billeter recounts his early inspirations from masters like Fellini and Antonioni and his invaluable learning experiences while working alongside Alfonso Cuarón.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInsta:@creativeprocesspodcast

How do our personal lives influence the art we make?JIM SHEPARD (Author of The Book of Aron, Project X, & The World to Come starring Casey Affleck, Vanessa Kirby, Katherine Waterston · Winner of the PEN New England Award, The Story Prize) explores historical human dilemmas, the emotional imagination and literature's role in extending empathetic understanding. He discusses the importance of self-education and curiosity.LAURA EASON (Emmy-nominated Producer, Screenwriter, Playwright · Three Women · House of Cards · The Loudest Voice) on how we can live multiple lives through the arts. She highlights the significant role the arts have played in her upbringing and daily life, emphasizing the value of listening to others. As a showrunner, Laura discusses how her work in the theater, where she often adapted literary classics, prepared her for working in the writers' room of House of Cards, adapting the creator's vision.BENOIT DELHOMME (Award-winning Cinematographer · Artist · Director · At Eternity's Gate · The Theory of Everything ·The Scent of Green Papaya) talks about the intrinsic pleasure found in art and cinematography. He likens operating a handheld camera to playing an instrument and emphasizes the importance of personalizing one's craft to imbue it with soul and freedom.JOHN PATRICK SHANLEY (Academy Award, Tony & Pulitzer Prize-winning Writer/Director · Doubt · Moonstruck · Danny and the Deep Blue Sea · Joe Versus the Volcano) recounts his personal journey from The Bronx to becoming a writer. He emphasizes the importance of embracing one's life experiences, even the seemingly ordinary ones, as gold for storytelling. Shanley reflects on his collaborations with actors Philip Seymour Hoffman and Meryl Streep and their dedication to their craft.MARK GOTTLIEB (Vice President & Literary Agent at Trident Media Group) explores storytelling as a timeless art form, comparing books to the oil paintings of new media. He comments on the transformative power of stories, which he believes can manifest in various forms—from books to movies and TV shows.ANTHONY WHITE (Artist) reflects on the role of visual arts in democracy and civil disobedience. Historical events like the Eureka Stockade, with its spirit of rebellion, have inspired his art.MICHAEL BEGLER (Showrunner · Writer & Executive Producer of Perry Mason and The Knick) discusses the importance of storytelling in understanding our history and emotions. He stresses that the arts, drawing from personal experiences, help us connect on a deeper level beyond hard news.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I think the show conveys to the women watching that their lives matter. They don't have to be some gorgeous aspirational person, although Sloane absolutely fits that mold. But for others living in the Midwest, struggling and feeling unseen, hopefully, the mirrors of Lina and Maggie will help them not feel so alone and remind them that their stories are important and matter.”Laura Eason is an Emmy-nominated producer, screenwriter, and playwright. Currently, she is the executive producer and showrunner of the Starz drama series Three Women. Based on a book by Lisa Taddeo, the series stars Shailene Woodley, DeWanda Wise, Betty Gilpin and Gabrielle Creevy. Laura's writing and producing credits for television include The Loudest Voice and four seasons of House of Cards. Laura's many plays include the critically acclaimed Sex with Strangers. She has also adapted many classic novels for the stage, including a highly successful version of Around the World in 80 Days. She has served as Artistic Director of Lookingglass Theatre Company in Chicago, where she also acted, directed, and produced in upwards of 20 shows.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

What is love? How do the narratives we internalize shape our understanding of relationships, intimacy, and family?Laura Eason is an Emmy-nominated producer, screenwriter, and playwright. Currently, she is the executive producer and showrunner of the Starz drama series Three Women. Based on a book by Lisa Taddeo, the series stars Shailene Woodley, DeWanda Wise, Betty Gilpin and Gabrielle Creevy. Laura's writing and producing credits for television include The Loudest Voice and four seasons of House of Cards. Laura's many plays include the critically acclaimed Sex with Strangers. She has also adapted many classic novels for the stage, including a highly successful version of Around the World in 80 Days. She has served as Artistic Director of Lookingglass Theatre Company in Chicago, where she also acted, directed, and produced in upwards of 20 shows.“I think the show conveys to the women watching that their lives matter. They don't have to be some gorgeous aspirational person, although Sloane absolutely fits that mold. But for others living in the Midwest, struggling and feeling unseen, hopefully, the mirrors of Lina and Maggie will help them not feel so alone and remind them that their stories are important and matter.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

How do the arts help us find purpose and meaning? What role do stories play in helping us preserve memories, connect us to each other, and answer life's big questions?MAX RICHTER(Award-winning Composer & Pianist · His album Sleep is the most streamed classical album of all time) reflects on the importance of creativity and how literature, music, and visual art offer windows into other people's perceptions and experiences, fostering understanding and connection.ETGAR KERET (Cannes Film Festival Award-winning Director · Author of Fly Already · Suddenly a Knock on the Door · The Seven Good Years) shares insights from his upbringing and how his mother's storytelling shaped his perception of creativity and authenticity.ANTHONY JOSEPH (T.S. Eliot Prize-winning Poet, Novelist & Singer-songwriter · Author of Sonnets for Albert) discusses the fragmented documentation of Caribbean life and how his poetry attempts to piece together these fragments.CLAUDIA FORESTIERI (Emmy Award-winning Writer · Creator of HBOMax's Gordita Chronicles) talks about the crucial role of immigrants in building and revitalizing America, portraying them as "Born Again Americans."BRIGITTE MUNOZ-LIEBOWITZ (Showrunner Gordita Chronicles · One Day at a Time) highlights the inevitability of adversity in life and its role in fostering growth. She underscores the importance of a positive outlook in overcoming the challenges of immigration.JOHNJOE McFADDEN (Author of Life is Simple: How Occam's Razor Set Science Free and Shapes the Universe · Professor of Molecular Genetics at University of Surrey) explores the communicative power of art, detailing how complex ideas and feelings can be conveyed holistically.SHEHAN KARUNATILAKA (Booker Prize-winning Author of The Seven Moons of Maali Almeida) discusses his choice of writing in the second person to explore the spiritual dimension.CATHERINE CURTIN (Actress · Stranger Things · Orange Is the New Black · Homeland) reflects on creative freedom, experimental theater and her work in film and television.KATE MUETH (Founder/Artistic Director of the award-winning dance theater company The Neo-Political Cowgirls) emphasizes the importance of connecting stories to meaning and how her creative process prioritizes authenticity and personal fulfillment over industry expectations.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Where does our intuition come from? How are lifelong creative partnerships formed and what role do friendship and personal connection play? How do our personal lives influence the art we make?Erland Cooper (Scottish composer, producer, and multi-instrumentalist) explores the emotional and transformative effects of music and visual arts. He underscores how music can transport individuals to different places and evoke emotional responses and relates his personal experiences of homesickness for his native Orkney.Debora Cahn (television creator, writer, and Emmy-nominated showrunner and executive producer of Netflix's The Diplomat) discusses the craft of long-form storytelling in television. She highlights the process of building immersive worlds and the challenge of integrating ideas into narratives that resonate with audiences on a universal level.Julian Lennon (singer-songwriter and documentary filmmaker, founder of The White Feather Foundation, and photographer/author of Life's Fragile Moments) reflects on the influence of his heroes and teachers and remembers the thing his mother taught him. He speaks about the importance of empathy, respect, and positivity, and how these values shape his creative and humanitarian efforts.Ed Zwick (Academy-Award-winning writer, director, and producer, and author of Hits, Flops, and Other Illusions) analyzes the elusive nature of talent and the magical moments in casting where undeniable potential shines through. Zwick shares insights into the subtle and unspoken aspects of directing that elevate a performance and bring a story to life.Chris Blackwell (Founder of Island Records and inductee of the Rock & Roll Hall of Fame) highlights the importance of instinct in recognizing and nurturing talent. He recounts his initial hesitation before signing Cat Stevens to Island Records. He shares how artistic partnerships grow out of personal connections and friendship.Joy Gorman Wettels (Executive producer of UnPrisoned and the founder of Joy Coalition) highlights stigmatized social issues through her storytelling. She emphasizes that humanizing these issues by creating relatable, empathetic characters can lead to real-world change and understanding.Rick Carnes (Songwriter and President of the Songwriters Guild of America) discusses the fundamental elements of songwriting and how music marks significant moments in people's lives. He elaborates on his creative process and the importance of mindfulness and emotional awareness in writing meaningful songs.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

"S. E. Hinton, Susie Hinton wrote The Outsiders when she was 15 and 16. It was published when she was 17. She was told by one editor in particular that she couldn't have any swear words, so she was sort of forced to write about these very big, intense, love-and-death operatic themes where there's a boy who dies by suicide by cop. There's a boy who dies from a fire. So it's about grief. His parents die in a car crash prior to all that. There's this hugely stacked deck of grief that exists in the novel. But when you read the novel, there's a very sweet and loving tone to it. So when I started working on it, I recall childhood in Joliet, Illinois. My mom was a single parent, and she raised three kids on her own on a nurse's salary. So I had to give myself permission to take her great dark themes and actions that are in her novel and like give language to it that was also from an adult world.Right now, live theater is probably much different than looking at a screen. It's much different than looking at your computer or your Game Boy or whatever. I see grown men on the subway playing video games on their phones. And we're not even looking at each other on the subways anymore. We're like deep in our in a screen. And I wonder what that's done. And so I think theater actually has a powerful ability to rewire us to the human experience. And maybe because of it, maybe we can find more empathy or more capacity toward kindness."Dan Futterman is creator, executive producer, and writer of Amazon Prime's American Rust, the acclaimed crime drama starring Jeff Daniels, Maura Tierney, and David Alvarez. Previously, Dan has written screenplays for Capote, Foxcatcher, In Treatment, and Gracepoint. He served as executive producer on The Looming Tower. Dan is also an actor, director, and two-time Oscar nominee.Adam Rapp is the executive producer and writer of American Rust. He has written plays, films, and series, including Red Light Winter, The Sound Inside, In Treatment, Blackbird, The Looming Tower, and Dexter: New Blood. His latest novel is Wolf at the Table. He recently wrote the book for the new Broadway musical, The Outsiders. www.imdb.com/name/nm0001246www.imdb.com/name/nm1452688/?ref_=fn_al_nm_1www.imdb.com/title/tt1532495/ https://outsidersmusical.com/ www.hachettebookgroup.com/titles/adam-rapp/wolf-at-the-table/9780316434164/?lens=little-brownwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What role do the families we're born into or the traumas we experience shape the people we become? Do good deeds offset bad deeds? How can the arts increase our capacity for empathy, understanding, and kindness?Dan Futterman is creator, executive producer, and writer of Amazon Prime's American Rust, the acclaimed crime drama starring Jeff Daniels, Maura Tierney, and David Alvarez. Previously, Dan has written screenplays for Capote, Foxcatcher, In Treatment, and Gracepoint. He served as executive producer on The Looming Tower. Dan is also an actor, director, and two-time Oscar nominee.Adam Rapp is the executive producer and writer of American Rust. He has written plays, films, and series, including Red Light Winter, The Sound Inside, In Treatment, Blackbird, The Looming Tower, and Dexter: New Blood. His latest novel is Wolf at the Table. He recently wrote the book for the new Broadway musical, The Outsiders."S. E. Hinton, Susie Hinton wrote The Outsiders when she was 15 and 16. It was published when she was 17. She was told by one editor in particular that she couldn't have any swear words, so she was sort of forced to write about these very big, intense, love-and-death operatic themes where there's a boy who dies by suicide by cop. There's a boy who dies from a fire. So it's about grief. His parents die in a car crash prior to all that. There's this hugely stacked deck of grief that exists in the novel. But when you read the novel, there's a very sweet and loving tone to it. So when I started working on it, I recall childhood in Joliet, Illinois. My mom was a single parent, and she raised three kids on her own on a nurse's salary. So I had to give myself permission to take her great dark themes and actions that are in her novel and like give language to it that was also from an adult world.Right now, live theater is probably much different than looking at a screen. It's much different than looking at your computer or your Game Boy or whatever. I see grown men on the subway playing video games on their phones. And we're not even looking at each other on the subways anymore. We're like deep in our in a screen. And I wonder what that's done. And so I think theater actually has a powerful ability to rewire us to the human experience. And maybe because of it, maybe we can find more empathy or more capacity toward kindness."www.imdb.com/name/nm0001246www.imdb.com/name/nm1452688/?ref_=fn_al_nm_1www.imdb.com/title/tt1532495/ https://outsidersmusical.com/ www.hachettebookgroup.com/titles/adam-rapp/wolf-at-the-table/9780316434164/?lens=little-brownwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"For years, people spoke about how awkward or embarrassing it was to perform the intimate content. And what they're speaking about is feeling horrible. If something's awkward, that squirm, that ring in the body, it feels embarrassing. That's actually an emotion that is not professional. That is not allowing the actor to stay feeling listened to, heard, empowered, autonomous. And so that they can just get on without any of those concerns and do their job to their best ability. And that's the awareness that we brought. So, we're saying, it is not suitable in our workplace for anybody to feel harassed or abused. The awareness in the industry, with acknowledging the injury from all those who came forward around the Weinstein allegations is the injury of when someone's coerced into doing something or that their career being threatened is emotional, psychological injury. It's really clear if you've got a stunt and someone's going to be jumping from roof to roof, they might fall down the cracks and break an ankle. Of course, the producers need to mitigate that risk and put in place everything so that the risk that you can perceive might happen is mitigated."Ita O'Brien is the UK's leading Intimacy Coordinator, founder of Intimacy on Set (and author of the Intimacy On Set Guidelines). Her company, set up in 2018 provides services to TV, film, and theatre when dealing with intimacy, and is a SAG-Aftra accredited training provider of Intimacy Practitioners. Intimacy on Set has supported numerous high-profile film and TV productions including Normal People & Conversations With Friends (BBC3/Hulu), Sex Education 1&2 (Netflix), I May Destroy You (BBC/HBO), It's A Sin (Channel 4), (Neal Street Prods / Searchlight Pictures).https://www.itaobrien.com/https://www.itaobrien.com/intimacy-on-set-guidelines.htmlhttps://www.imdb.com/name/nm1357677/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How can intimate scenes be brought to the screen in ways that respect the emotional well-being and privacy of the artists themselves? How do we make sure that we can create a story about abuse without anyone being abused in the process?Ita O'Brien is the UK's leading Intimacy Coordinator, founder of Intimacy on Set (and author of the Intimacy On Set Guidelines). Her company, set up in 2018 provides services to TV, film, and theatre when dealing with intimacy, and is a SAG-Aftra accredited training provider of Intimacy Practitioners. Intimacy on Set has supported numerous high-profile film and TV productions including Normal People & Conversations With Friends (BBC3/Hulu), Sex Education 1&2 (Netflix), I May Destroy You (BBC/HBO), It's A Sin (Channel 4), (Neal Street Prods / Searchlight Pictures)."For years, people spoke about how awkward or embarrassing it was to perform the intimate content. And what they're speaking about is feeling horrible. If something's awkward, that squirm, that ring in the body, it feels embarrassing. That's actually an emotion that is not professional. That is not allowing the actor to stay feeling listened to, heard, empowered, autonomous. And so that they can just get on without any of those concerns and do their job to their best ability. And that's the awareness that we brought. So, we're saying, it is not suitable in our workplace for anybody to feel harassed or abused. The awareness in the industry, with acknowledging the injury from all those who came forward around the Weinstein allegations is the injury of when someone's coerced into doing something or that their career being threatened is emotional, psychological injury. It's really clear if you've got a stunt and someone's going to be jumping from roof to roof, they might fall down the cracks and break an ankle. Of course, the producers need to mitigate that risk and put in place everything so that the risk that you can perceive might happen is mitigated."https://www.itaobrien.com/https://www.itaobrien.com/intimacy-on-set-guidelines.htmlhttps://www.imdb.com/name/nm1357677/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"When I did my show Positive Me, we were in the middle of a horrible crisis. The AIDS crisis was very real to me and my friends and not real to the people that I knew from New Jersey. They thought it was government hype. They didn't believe in it. And so I couldn't even fathom that. And I had taken a class with Elizabeth Swados about writing satire, and she was very encouraging in terms of what I was doing. And so maybe it was just gumption. I just thought, Okay, then this is what I'm going to do!"From her role as Dr. Lisa Cuddy on the hit Fox series House M.D, to her starring role as Abby McCarthy in Bravo's first scripted series Girlfriend's Guide to Divorce, Lisa Edelstein's range of roles are as diverse talent. Some of Edelstein's feature credits include Keeping the Faith, What Women Want, Daddy Daycare, As Good as It Gets, and Fathers and Sons. She played a Holocaust survivor and adopted mother in the drama television series Little Bird. The story centres on a First Nations woman who was adopted into a Jewish family during the Sixties Scoop, as she attempts to reconnect with her birth family and heritage.Lisa's career began by writing, composing, and performing an original AIDS awareness musical Positive Me at the renowned La Mama Experimental Theater Club in New York City. In the wake of COVID, Lisa began to paint using old family photographs as starting points. Her incredibly detailed paintings capture intimate relationships and spontaneous moments with honesty and compassion.https://lisaedelstein.komi.io/www.lisaedelsteinpaintings.com/www.imdb.com/name/nm0249046www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastArtworks:“Beach Day”, “Marsha”, “Karen” Courtesy of the ArtistLisa Edelstein in the StudioPhoto credit: Holland Clement, Courtesy of the artist

How can the arts help us examine and engage with social issues? How do our families shape our views, memories, and experience of the world?From her role as Dr. Lisa Cuddy on the hit Fox series House, to her starring role as Abby McCarthy in Bravo's first scripted series Girlfriend's Guide to Divorce, Lisa Edelstein's range of roles are as diverse talent. Some of Edelstein's feature credits include Keeping the Faith, What Women Want, Daddy Daycare, As Good as It Gets, and Fathers and Sons. She played a Holocaust survivor and adopted mother in the drama television series Little Bird. The story centres on a First Nations woman who was adopted into a Jewish family during the Sixties Scoop, as she attempts to reconnect with her birth family and heritage.Lisa's career began by writing, composing, and performing an original AIDS awareness musical Positive Me at the renowned La Mama Experimental Theater Club in New York City. In the wake of COVID, Lisa began to paint using old family photographs as starting points. Her incredibly detailed paintings capture intimate relationships and spontaneous moments with honesty and compassion."When I did my show Positive Me, we were in the middle of a horrible crisis. The AIDS crisis was very real to me and my friends and not real to the people that I knew from New Jersey. They thought it was government hype. They didn't believe in it. And so I couldn't even fathom that. And I had taken a class with Elizabeth Swados about writing satire, and she was very encouraging in terms of what I was doing. And so maybe it was just gumption. I just thought, Okay, then this is what I'm going to do!""I had the first ever lesbian makeout scene on network television on a short-lived show called Relativity. That was another role where I felt really honored to be asked to do that, having been in and around the gay community my whole adult life. In the club scene, it was like all my friends were gay. So I was really happy to represent doing that."https://lisaedelstein.komi.io/www.lisaedelsteinpaintings.com/www.imdb.com/name/nm0249046www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastPhoto credit: Mitch StoneCourtesy of the artist

"I think that we always try to find ways of defining ourselves against culture, archetypes, and narratives. And one of the things that interests me most is the process of trying to figure out what story we're in, to try to figure out who we are relative to stories. I don't think we are reducible to archetypes exactly, but I think that constant trying on the different hats, metaphorically speaking, and saying: Am I this? or Am I that? Am I a vamp? Or am I an ingenue? I would say that probably, as a woman, I am very, very aware of it. I think there is actually some kind of self-knowledge that is linked to knowing something true about ourselves."Tara Isabella Burton is the author of the novels Social Creature, The World Cannot Give, and Here in Avalon, as well as the nonfiction books Strange Rites: New Religions for a Godless World and Self-Made: Curating Our Image from Da Vinci to the Kardashians. She is currently working on a history of magic and modernity, to be published by Convergent in late 2025. Her fiction and nonfiction have appeared in The New York Times, National Geographic, Granta, The Washington Post, The Wall Street Journal, and other publications.www.taraisabellaburton.comwww.simonandschuster.com/books/Here-in-Avalon/Tara-Isabella-Burton/9781982170097?fbclid=IwAR30lnvlXMrDJtCq_568jUM3hvzr6yUz_GUUZSkbR2RarreOF6PMcvhabBgwww.amazon.com/dp/B07W56MQLJ/ref=sr_1_fkmr0_1?keywords=strange+rites+tara+isabella+burton&qid=1565365017&s=gateway&sr=8-1-fkmr0www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What are we willing to give up to find meaning, connection, and a sense of belonging? What happens if we don't self-promote, self-create, and self-brand on social media? Will we find the right partner? Will we get into the right college? Or find the best job?Tara Isabella Burton is the author of the novels Social Creature, The World Cannot Give, and Here in Avalon, as well as the nonfiction books Strange Rites: New Religions for a Godless World and Self-Made: Curating Our Image from Da Vinci to the Kardashians. She is currently working on a history of magic and modernity, to be published by Convergent in late 2025. Her fiction and nonfiction have appeared in The New York Times, National Geographic, Granta, The Washington Post, The Wall Street Journal, and other publications."I think that we always try to find ways of defining ourselves against culture, archetypes, and narratives. And one of the things that interests me most is the process of trying to figure out what story we're in, to try to figure out who we are relative to stories. I don't think we are reducible to archetypes exactly, but I think that constant trying on the different hats, metaphorically speaking, and saying: Am I this? or Am I that? Am I a vamp? Or am I an ingenue? I would say that probably, as a woman, I am very, very aware of it. I think there is actually some kind of self-knowledge that is linked to knowing something true about ourselves."www.taraisabellaburton.comwww.simonandschuster.com/books/Here-in-Avalon/Tara-Isabella-Burton/9781982170097?fbclid=IwAR30lnvlXMrDJtCq_568jUM3hvzr6yUz_GUUZSkbR2RarreOF6PMcvhabBgwww.amazon.com/dp/B07W56MQLJ/ref=sr_1_fkmr0_1?keywords=strange+rites+tara+isabella+burton&qid=1565365017&s=gateway&sr=8-1-fkmr0www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I was always a film and theater kid. I just was completely starstruck and only wanted to have some kind of contact with showbiz. I didn't really understand in what creative shape that would take. It was when I was trying to work in theater. Stephen Sondheim was a close friend and advisor for the period. I was trying to work in theater, and he really changed how I think about art. And then before I went to do Mishima, I spent 3 years working with Robert Wilson, the great international stage director. Bob is a complete genius, and I adore him. Just being an apprentice to him and being one of his many producers working on his big international projects was a hugely formative and nurturing experience. And then finally Schrader [was an important mentor] because Schrader just sort of said, 'Here, you're going to work in movies. Come with me.'"Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain."I was always a film and theater kid. I just was completely starstruck and only wanted to have some kind of contact with showbiz. I didn't really understand in what creative shape that would take. It was when I was trying to work in theater. Stephen Sondheim was a close friend and advisor for the period. I was trying to work in theater, and he really changed how I think about art. And then before I went to do Mishima, I spent 3 years working with Robert Wilson, the great international stage director. Bob is a complete genius, and I adore him. Just being an apprentice to him and being one of his many producers working on his big international projects was a hugely formative and nurturing experience. And then finally Schrader [was an important mentor] because Schrader just sort of said, 'Here, you're going to work in movies. Come with me.'"https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Q: Who is David Byrne?David Byrne: ...I have no idea.Most people know me through music, but when I was in high school I saw science and the arts as being equally creative fields. More recently, I just started taking an interest in how the brain works, and there's been this explosion of literature. As much as I love reading about neuroscience, I realize that experiencing some of the phenomena is just on a different level. I wanted to create an experience that shows us we're not who we think we are. Theater of the Mind is an immersive Science Theater project. With this show, I've tried to marry a narrative to the experience of different scientific phenomena that reveal how malleable our perception memory, and identity really are.To make a production like this work, it's a big invisible team. There's actors, lighting designers sound designers, technical people so it's a really complicated system. This is the Theater of the Mind. How do we operate in a world where we're not sure what's real and what's not. If things are unreliable, then what do we trust? People think of science as being intimidating, but it also doesn't mean that you can't understand it or can't enjoy it. Our emotions, our sense of self, our relationship to other people is all connected to our perception, that you can't separate one of these things from another. They all work together to make us what we are.What is consciousness? The mind produces thoughts, sensations, perception, emotions. How can these inner felt experiences be produced within the darkness of the human skull?Nicholas Bruckman is founder and CEO of People's Television, a production studio and creative agency that produces independent films, and video storytelling for brands. Collaborating with the The Simons Foundation through their 'Science Sandbox' Initiative, he directed Theater of the Mind, which takes audiences into the creative inner workings of Musician and Artist David Byrne's brain, showcasing Byrne's immersive theater performance, which attempts to conceptualize the idea of our sense of self and how malleable the mind truly is.He directed the award-winning healthcare justice documentary Not Going Quietly, executive produced by Mark and Jay Duplass.John Tracey is Program Director of Science, Society and Culture projects at the Simons Foundation whose mission is to advance the frontiers of research in mathematics and the basic sciences to unravel the mysteries of the universe. The foundation champions basic science through grant funding, support for research and public engagement.Ian Moubayed started his career as a cinematographer, collaborating with Emmy, Peabody, and Oscar-winning filmmakers. His work includes Netflix's The Great Hack, NBC Peacock's The Sit-In: Harry Belafonte Hosts the Tonight Show, and HBO's The Vow.www.youtube.com/@sciencesandboxwww.davidbyrne.comhttps://nickny.com/biohttps://www.simonsfoundation.org/people/john-tracey/https://peoples.tv/director/ian-moubayed/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is consciousness? The mind produces thoughts, sensations, perception, emotions. How can these inner felt experiences be produced within the darkness of the human skull?Nicholas Bruckman is founder and CEO of People's Television, a production studio and creative agency that produces independent films, and video storytelling for brands. Collaborating with the The Simons Foundation through their 'Science Sandbox' Initiative, he directed Theater of the Mind, which takes audiences into the creative inner workings of Musician and Artist David Byrne's brain, showcasing Byrne's immersive theater performance, which attempts to conceptualize the idea of our sense of self and how malleable the mind truly is.He directed the award-winning healthcare justice documentary Not Going Quietly, executive produced by Mark and Jay Duplass.John Tracey is Program Director of Science, Society and Culture projects at the Simons Foundation whose mission is to advance the frontiers of research in mathematics and the basic sciences to unravel the mysteries of the universe. The foundation champions basic science through grant funding, support for research and public engagement.Ian Moubayed started his career as a cinematographer, collaborating with Emmy, Peabody, and Oscar-winning filmmakers. His work includes Netflix's The Great Hack, NBC Peacock's The Sit-In: Harry Belafonte Hosts the Tonight Show, and HBO's The Vow.Q: Who is David Byrne?David Byrne: ...I have no idea.Most people know me through music, but when I was in high school I saw science and the arts as being equally creative fields. More recently, I just started taking an interest in how the brain works, and there's been this explosion of literature. As much as I love reading about neuroscience, I realize that experiencing some of the phenomena is just on a different level. I wanted to create an experience that shows us we're not who we think we are. Theater of the Mind is an immersive Science Theater project. With this show, I've tried to marry a narrative to the experience of different scientific phenomena that reveal how malleable our perception memory, and identity really are.To make a production like this work, it's a big invisible team. There's actors, lighting designers sound designers, technical people so it's a really complicated system. This is the Theater of the Mind. How do we operate in a world where we're not sure what's real and what's not. If things are unreliable, then what do we trust? People think of science as being intimidating, but it also doesn't mean that you can't understand it or can't enjoy it. Our emotions, our sense of self, our relationship to other people is all connected to our perception, that you can't separate one of these things from another. They all work together to make us what we are.www.youtube.com/@sciencesandboxwww.davidbyrne.comhttps://nickny.com/biohttps://www.simonsfoundation.org/people/john-tracey/https://peoples.tv/director/ian-moubayed/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I grew up in New York City. And when I was like 13, I'd sneak downtown on the subway and I'd go see shows at like La MaMa and Wooster Group and all of these sort of heavy-hitting, really alternative theaters. And theater was, for me, my first love. And I feel like in some ways, we've lost touch with that because we exist in a world that has become so fast moving. And I'm not sure that's a gain, a bonus, but there always has to be a check-in, and I find working with Kate, I've always felt that I never had to fear that my process was taking a long time.There was never a sense of like, what have you got? Show it right now. Do it, show it, show it! What have you got? Okay. Oh, you haven't got it. It's like there's a sense of, with Kate, it's like you're being wrapped in this enormous teddy bear of artistic freedom and care. Because I do do enough TV and film. Sometimes the bigger the budget, you know, sometimes... (gestures as though to say 'the quality doesn't always increase'). So, I'm always glad to just relax in the creative process, and I'm always very grateful for that. I think it's why I do so much indie film because it's really fun." -Catherine CurtinWhy do we make art? What can the performing arts teach us about how to engage in dialogues to overcome conflict and division?Our guests today are actress Catherine Curtin and artistic director Kate Mueth. Curtin is known for her roles on Stranger Things, Homeland, and Insecure. She played correctional officer Wanda Bell in Orange Is the New Black, and for this role she was a joint winner of two Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Comedy Series.Mueth is the Founder and Artistic Director of the award-winning dance theater company The Neo-Political Cowgirls that seeks to deepen and challenge the ways in which audiences experience stories and awaken their human connection. Based in East Hampton, New York they have performed to audiences in America and Europe.www.imdb.com/name/nm0193160/www.npcowgirls.orgwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Why do we make art? What can the performing arts teach us about how to engage in dialogues to overcome conflict and division?Our guests today are actress Catherine Curtin and artistic director Kate Mueth. Curtin is known for her roles on Stranger Things, Homeland, and Insecure. She played correctional officer Wanda Bell in Orange Is the New Black, and for this role she was a joint winner of two Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Comedy Series.Mueth is the Founder and Artistic Director of the award-winning dance theater company The Neo-Political Cowgirls that seeks to deepen and challenge the ways in which audiences experience stories and awaken their human connection. Based in East Hampton, New York they have performed to audiences in America and Europe."I grew up in New York City. And when I was like 13, I'd sneak downtown on the subway and I'd go see shows at like La MaMa and Wooster Group and all of these sort of heavy-hitting, really alternative theaters. And theater was, for me, my first love. And I feel like in some ways, we've lost touch with that because we exist in a world that has become so fast moving. And I'm not sure that's a gain, a bonus, but there always has to be a check-in, and I find working with Kate, I've always felt that I never had to fear that my process was taking a long time.There was never a sense of like, what have you got? Show it right now. Do it, show it, show it! What have you got? Okay. Oh, you haven't got it. It's like there's a sense of, with Kate, it's like you're being wrapped in this enormous teddy bear of artistic freedom and care. Because I do do enough TV and film. Sometimes the bigger the budget, you know, sometimes... (gestures as though to say 'the quality doesn't always increase'). So, I'm always glad to just relax in the creative process, and I'm always very grateful for that. I think it's why I do so much indie film because it's really fun." -Catherine Curtinwww.imdb.com/name/nm0193160/www.npcowgirls.orgwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Jane Alexander is an actress, writer, and conservationist. She chaired the National Endowment for the Art from 1993-1997. A Tony Award winner and member of the Theatre Hall of Fame, Alexander has performed in more than a hundred plays. Her long film career includes four Academy Award nominations, for The Great White Hope, All The President's Men, Kramer vs. Kramer, and Testament. She has been honored with two Emmys, for Playing for Time and Warm Springs. Alexander was a Trustee of the Wildlife Conservation Society, a board member of the American Bird Conservancy, the American Birding Association, and a Commissioner of New York State Parks. She sits on the board of the National Audubon Society, the Global Advisory Group of Bird Life International, and the Conservation Council of Panthera. In 2012 the Indianapolis Prize inaugurated the Jane Alexander Global Wildlife Ambassador Award, with Alexander as its first recipient.· www.creativeprocess.info

Jane Alexander is an actress, writer, and conservationist. She chaired the National Endowment for the Art from 1993-1997. A Tony Award winner and member of the Theatre Hall of Fame, Alexander has performed in more than a hundred plays. Her long film career includes four Academy Award nominations, for The Great White Hope, All The President's Men, Kramer vs. Kramer, and Testament. She has been honored with two Emmys, for Playing for Time and Warm Springs. Alexander was a Trustee of the Wildlife Conservation Society, a board member of the American Bird Conservancy, the American Birding Association, and a Commissioner of New York State Parks. She sits on the board of the National Audubon Society, the Global Advisory Group of Bird Life International, and the Conservation Council of Panthera. In 2012 the Indianapolis Prize inaugurated the Jane Alexander Global Wildlife Ambassador Award, with Alexander as its first recipient.· www.creativeprocess.info

"I knew Philip Seymour Hoffman for several years. We went on vacation together. He produced a play of mine. Before we did Doubt, we worked in the same theater company together, and he was, you know, very committed to excellence. And so he could become impatient with anybody who was not committed to excellence, and that could make him a volatile person to deal with. Phil cared. He cared a great deal. And he worked really hard.You can't get trapped in your head when you're a playwright, or probably any kind of real artist. You have to find your center, which involves your spirit and your emotions, and some intellect.I think that that is a problem that we're enduring, experiencing now in film and theater. It's because of the politicization of media that you see like if you're going to cast a part of a guy with one leg, you have to hire a guy with one leg. And that's exactly what theater isn't. Theater is you take a pot from your kitchen and put it on your head and say, 'I'm the King of England!' And if you believe it, I'll believe it. And that frees all the one-legged people to be Fred Astaire, to do whatever they want. If they believe it, I'll believe it. So that kind of literalism is, I think, inhibiting to everyone."John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing."I knew Philip Seymour Hoffman for several years. We went on vacation together. He produced a play of mine. Before we did Doubt, we worked in the same theater company together, and he was, you know, very committed to excellence. And so he could become impatient with anybody who was not committed to excellence, and that could make him a volatile person to deal with. Phil cared. He cared a great deal. And he worked really hard.You can't get trapped in your head when you're a playwright, or probably any kind of real artist. You have to find your center, which involves your spirit and your emotions, and some intellect.I think that that is a problem that we're enduring, experiencing now in film and theater. It's because of the politicization of media that you see like if you're going to cast a part of a guy with one leg, you have to hire a guy with one leg. And that's exactly what theater isn't. Theater is you take a pot from your kitchen and put it on your head and say, 'I'm the King of England!' And if you believe it, I'll believe it. And that frees all the one-legged people to be Fred Astaire, to do whatever they want. If they believe it, I'll believe it. So that kind of literalism is, I think, inhibiting to everyone."www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I watched things with my grandparents, and I read books with my grandmother. And my mother was obsessed with Sondheim and Neil Simon, and she took me to standing-room-only Broadway shows for $5. And she held me during A Chorus Line. So the lyrics I was singing when I was four years old were very inappropriate. We did community theater, and my mom had this incredible network of gorgeous gay men who would drink coffee and eat biscotti and listen to show tunes in my tiny one-bedroom apartment.I think that I was surrounded by storytellers and hams and charming, charismatic people who sang beautifully. I still can hear my mom's friend Bobby Cipolla's voice. I hear him playing the leading player in Pippin in our community theater production of Pippin, and my sisters and I all sang. So we were very theatrical for a bunch of girls who shared a couple of bedrooms in an apartment in Yonkers.But my mother also just always showed us how New York City was only 10 miles away, and like greatness was attainable. And you can do fabulous, cool, fun things. You didn't have to be rich to do them. And she would walk me around the Columbia campus and the Metropolitan Museum of Art, and we would go to the nosebleed seats to the ballet. And so I think the storytelling came from a combination of that exposure to the arts and closeness to New York City.Brian Yorkey is my dear friend. We went to college together. Brian and Tom Kitt wrote Next to Normal, which was the very first Broadway show that dealt with mental health and mental illness. I had a grandmother who was bipolar and institutionalized, and when Brian told me when we were like 21 years old that he was writing a musical about electro-shock therapy, I was like, great idea! 10, 12 years later, and many iterations and workshops later with Tom and Brian, the show went to Broadway and got the Pulitzer and 11 Tony nominations, and it was groundbreaking.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. “I watched things with my grandparents, and I read books with my grandmother. And my mother was obsessed with Sondheim and Neil Simon, and she took me to standing-room-only Broadway shows for $5. And she held me during A Chorus Line. So the lyrics I was singing when I was four years old were very inappropriate. We did community theater, and my mom had this incredible network of gorgeous gay men who would drink coffee and eat biscotti and listen to show tunes in my tiny one-bedroom apartment.I think that I was surrounded by storytellers and hams and charming, charismatic people who sang beautifully. I still can hear my mom's friend Bobby Cipolla's voice. I hear him playing the leading player in Pippin in our community theater production of Pippin, and my sisters and I all sang. So we were very theatrical for a bunch of girls who shared a couple of bedrooms in an apartment in Yonkers.But my mother also just always showed us how New York City was only 10 miles away, and like greatness was attainable. And you can do fabulous, cool, fun things. You didn't have to be rich to do them. And she would walk me around the Columbia campus and the Metropolitan Museum of Art, and we would go to the nosebleed seats to the ballet. And so I think the storytelling came from a combination of that exposure to the arts and closeness to New York City.Brian Yorkey is my dear friend. We went to college together. Brian and Tom Kitt wrote Next to Normal, which was the very first Broadway show that dealt with mental health and mental illness. I had a grandmother who was bipolar and institutionalized, and when Brian told me when we were like 21 years old that he was writing a musical about electro-shock therapy, I was like, great idea! 10, 12 years later, and many iterations and workshops later with Tom and Brian, the show went to Broadway and got the Pulitzer and 11 Tony nominations, and it was groundbreaking.”www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“In the case of improv, where it's physical, it might be a slightly different experience as well compared to someone sitting in front of a page and trying to write because like those physical embodiments, whether it's in a sporting arena or any sport or where you're trying to improvise in front of a group of people... And verbally, of course, if it's standup comedy or that kind of improv, you are in a collective space.Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody.”Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).“In the case of improv, where it's physical, it might be a slightly different experience as well compared to someone sitting in front of a page and trying to write because like those physical embodiments, whether it's in a sporting arena or any sport or where you're trying to improvise in front of a group of people... And verbally, of course, if it's standup comedy or that kind of improv, you are in a collective space.Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody.”www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"I enjoy dancing, but I would not call myself a dancer by any means compared to the people I'm working with here who are so wonderful at it. I worked with a lot of in this piece, especially immersive theater actors and dancers. So there's a show called Sleep No More in New York, which is like an adaptation of Shakespeare's Macbeth. It's immersive theater. You walk through the room and all these different actors have these interactions with the people as they're moving through this entire building. And I love immersive theater so much, and I was really glad to work with these very talented, immersive theater actors as I just think they're such good captures of humanity, and they tend to be very good dancers as well.There's a lot of dance in those shows. Then Sleep No More and Then She Fell are both just truly spectacular immersive theater programs. And Taylor Myers, Isabel Umali, Jonothon Lyons, and Rachel Berman, they were all part of those shows, and they worked with me on the Aliens piece and on Subway Love."Max Stossel is an Award-winning poet, filmmaker, and speaker, named by Forbes as one of the best storytellers of the year. His Stand-Up Poetry Special Words That Move takes the audience through a variety of different perspectives, inviting us to see the world through different eyes together. Taking on topics like heartbreak, consciousness, social media, politics, the emotional state of our world, and even how dogs probably (most certainly) talk, Max uses rhyme and rhythm to make these topics digestible and playful. Words That Move articulates the deep-seated kernels of truth that we so often struggle to find words for ourselves. Max has performed on five continents, from Lincoln Center in NY to the Hordern Pavilion in Sydney. He is also the Youth & Education Advisor for the Center for Humane Technology, an organization of former tech insiders dedicated to realigning technology with humanity's best interests.www.wordsthatmove.com/www.instagram.com/maxstossel/www.humanetech.com https://vimeo.com/690354718/54614a2318www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Max Stossel is an Award-winning poet, filmmaker, and speaker, named by Forbes as one of the best storytellers of the year. His Stand-Up Poetry Special Words That Move takes the audience through a variety of different perspectives, inviting us to see the world through different eyes together. Taking on topics like heartbreak, consciousness, social media, politics, the emotional state of our world, and even how dogs probably (most certainly) talk, Max uses rhyme and rhythm to make these topics digestible and playful. Words That Move articulates the deep-seated kernels of truth that we so often struggle to find words for ourselves. Max has performed on five continents, from Lincoln Center in NY to the Hordern Pavilion in Sydney. He is also the Youth & Education Advisor for the Center for Humane Technology, an organization of former tech insiders dedicated to realigning technology with humanity's best interests."I enjoy dancing, but I would not call myself a dancer by any means compared to the people I'm working with here who are so wonderful at it. I worked with a lot of in this piece, especially immersive theater actors and dancers. So there's a show called Sleep No More in New York, which is like an adaptation of Shakespeare's Macbeth. It's immersive theater. You walk through the room and all these different actors have these interactions with the people as they're moving through this entire building. And I love immersive theater so much, and I was really glad to work with these very talented, immersive theater actors as I just think they're such good captures of humanity, and they tend to be very good dancers as well.There's a lot of dance in those shows. Then Sleep No More and Then She Fell are both just truly spectacular immersive theater programs. And Taylor Myers, Isabel Umali, Jonothon Lyons, and Rachel Berman, they were all part of those shows, and they worked with me on the Aliens piece and on Subway Love."www.wordsthatmove.com/www.instagram.com/maxstossel/www.humanetech.com https://vimeo.com/690354718/54614a2318www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson."For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson.Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute “Home of the Brave” on the Late Show with Laurie Andersonwww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11."Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson."http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009“Gloria” for Robert Wilson's “Oedipus Rex”Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute "Are Years What" Phillip Glass. Composed for D.L. playing 3 soprano saxophones. On his lp "North Star”,1977 Swing Kings 1965, D.L. on flute“Home of the Brave” on the Late Show with Laurie Anderson"Taideco" Zydeco, for Wilson's production of "1433" Cedric Watson, Jermain Prejean, D.L. “Ghosties” from “Dickie Landry Solo”"It Keeps Rainin'", Robert Plant with Lil' Band O' GoldPhoto: Dickie Landry in Robert Wilson's “1433—The Grand Voyage”, Music by Ornette Coleman, Dickie Landry, Chih-Chun Huangwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"I've always been fascinated by the interaction of people and why they say and do the things they do. And I could see how theater impacted my work because actually, I have a broad brush when I paint, mainly. And it gets kind of fuzzy as you get close, but as you go further, you see things. That's the discipline of the theater. You're painting up close, but for an image that can be seen from a distance, from the last chair in the theater. So that's kind of my thing.I've got to say, I'm particularly interested in murder mysteries myself. Because murder mysteries, more than any other story, they answer the question: why did this guy do this? And that's what I like, to answer the questions of why people act the way they do it. Now you can find that regardless of what the theatrical production is about. I tend to like classic stuff, but I can't imagine a more fascinating topic than people and what moves them. What makes them act the way they do? I just can't think of anything more interesting. And the goal of my work in particular is to make people just stop enough to look at it and then be reminded of themselves a little bit in what they're looking at, regardless of what they look like compared to the image. And that's it. Sometimes I'm just sitting at a coffee shop, watching people and trying to invent stories. It's just a fascination for me."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage: Men, Acrylic on Canvas, Gloria Pacis

Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women's Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."I've always been fascinated by the interaction of people and why they say and do the things they do. And I could see how theater impacted my work because actually, I have a broad brush when I paint, mainly. And it gets kind of fuzzy as you get close, but as you go further, you see things. That's the discipline of the theater. You're painting up close, but for an image that can be seen from a distance, from the last chair in the theater. So that's kind of my thing.I've got to say, I'm particularly interested in murder mysteries myself. Because murder mysteries, more than any other story, they answer the question: why did this guy do this? And that's what I like, to answer the questions of why people act the way they do it. Now you can find that regardless of what the theatrical production is about. I tend to like classic stuff, but I can't imagine a more fascinating topic than people and what moves them. What makes them act the way they do? I just can't think of anything more interesting. And the goal of my work in particular is to make people just stop enough to look at it and then be reminded of themselves a little bit in what they're looking at, regardless of what they look like compared to the image. And that's it. Sometimes I'm just sitting at a coffee shop, watching people and trying to invent stories. It's just a fascination for me."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

The Classical Theatre of Harlem provides theatrical productions, educational and literary programs for free or at little cost to Harlem residents, organizations, and all who seek Harlem as a cultural destination. Its productions have received a Drama Desk, OBIE, and New York Times Critics Pick Awards. From July 5th to 29th they bring an Afrofuturistic take on Twelfth Night to Marcus Garvey Park.NAACP and OBIE Award Winner, Ty Jones is Producing Artistic Director responsible for creating the Uptown Shakespeare in the Park series and other community initiatives.Allen Gilmore has played Othello, Iago, and created the role of James Hewlett in The African Company presents Richard The Third at the Public Theater. He makes his CTH debut in Twelfth Night.“I believe that these plays are living arguments and that when you actually read the full text, not cut down versions of them, but the full text, you'll see that Shakespeare was commenting on the ruling class, and for some reason, he found a way to comment on the workings of folks who make decisions in society. Now, I think what's tended to happen over the years is that the ruling class has essentially taken over how we see these plays… We hope that we can move people, and we hope that these are the kind of plays that ignite discourse. I hope that at the end of seeing that piece of art, their hearts begin to beat in sync. I believe all progress begins with a conversation.”www.cthnyc.orgwww.cthnyc.org/dt_team/ty-jones-producing-artistic-director-cth-actorwww.cthnyc.org/twelfth-nightwww.allengilmore.comTwelfth Night photo credit: Richard Terminewww.creativeprocess.infowww.oneplanetpodcast.org

The Classical Theatre of Harlem provides theatrical productions, educational and literary programs for free or at little cost to Harlem residents, organizations, and all who seek Harlem as a cultural destination. Its productions have received a Drama Desk, OBIE, and New York Times Critics Pick Awards. From July 5th to 29th they bring an Afrofuturistic take on Twelfth Night to Marcus Garvey Park.NAACP and OBIE Award Winner, Ty Jones is Producing Artistic Director responsible for creating the Uptown Shakespeare in the Park series and other community initiatives.Allen Gilmore has played Othello, Iago, and created the role of James Hewlett in The African Company presents Richard The Third at the Public Theater. He makes his CTH debut in Twelfth Night.“I believe that these plays are living arguments and that when you actually read the full text, not cut down versions of them, but the full text, you'll see that Shakespeare was commenting on the ruling class, and for some reason, he found a way to comment on the workings of folks who make decisions in society. Now, I think what's tended to happen over the years is that the ruling class has essentially taken over how we see these plays… We hope that we can move people, and we hope that these are the kind of plays that ignite discourse. I hope that at the end of seeing that piece of art, their hearts begin to beat in sync. I believe all progress begins with a conversation.”www.cthnyc.orgwww.cthnyc.org/dt_team/ty-jones-producing-artistic-director-cth-actorwww.cthnyc.org/twelfth-nightwww.allengilmore.comPhoto credits: Lia Chang, Jill Joneswww.creativeprocess.infowww.oneplanetpodcast.org

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; Shakespeare in the Park's As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran's work has appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre's studio company, Denmark's Upper Cut Company, Sweden's Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“Creativity is perhaps the ultimate mystery. I veer wildly between opposing views on it and have different feelings depending on whether the creator is isolated or a collaborator. Gropius said the artist is an exalted craftsman. “In rare moments of inspiration, moments beyond the control of his will, the grace of Heaven may cause his work to blossom into art, but proficiency in his craft is essential to every artist. Therein lies the source of creative imagination." And Steve Sondheim said, "Art is craft, not inspiration." And Rilke mistrusted any artist's knowing participation in his own creative process.”Tony Walton was an award-winning director and production designer. His work was vast and stretches from Broadway productions and operas to films and television. Over the course of his long and coveted career Tony was honored with 16 Tony Award Nominations for his Broadway sets and costumes. Of those nominations he received awards for Pippin, House of Blue Leaves, and Guys and Dolls. In his television career he worked on over 20 films and received tremendous recognition for his work on Bob Fosse's All That Jazz where he won an Oscar and Death of a Salesman where he received an Emmy. In 1991, Tony Walton was elected to the Theatre Hall of Fame. Until his passing in 2022, he lived in New York City with his wife Gen LeRoy Walton.This interview was originally aired in 2019. · www.tonywalton.net · www.creativeprocess.info

Tony Walton was an award-winning director and production designer. His work was vast and stretches from Broadway productions and operas to films and television. Over the course of his long and coveted career Tony was honored with 16 Tony Award Nominations for his Broadway sets and costumes. Of those nominations he received awards for Pippin, House of Blue Leaves, and Guys and Dolls. In his television career he worked on over 20 films and received tremendous recognition for his work on Bob Fosse's All That Jazz where he won an Oscar and Death of a Salesman where he received an Emmy. In 1991, Tony Walton was elected to the Theatre Hall of Fame. Until his passing in 2022, he lived in New York City with his wife Gen LeRoy Walton.www.tonywalton.net www.creativeprocess.info

"Laurie Anderson, Leslie Odom Jr. from Hamilton was here a couple of years ago. It was fantastic. Judd Hirsch. I got a chance to drive in my car with Charles Durning and Jack Klugman, two character actors that I admired all my life. It was a surreal experience.When I got here, I started to do some of the Shakespeare plays, working sometimes with kids from the community and professional artists. Michael Nathanson played Hamlet with us in 2005. Alec Baldwin, Eric Bogosian, Jeffrey Tambor, Anne Jackson and Eli Wallach, who lived in East Hampton about two blocks from here. They were involved in the John Drew Theater from the 60s, 70s, and 80s. Through much of their lives, they were lifetime performers at Guild Hall, always in the summer doing a little something. Eli worked up until his 90s, and he was still working, as sharp as a tack. There have been so many artists here. Two summers ago, Questlove was here interviewing Jerry Seinfield on the stage and Alec Baldwin has been our board president for a number of years. He liked the renovations. He liked the show that Harris Yulin did with Amy Irving. He loved The Glass Menagerie and he loved the renovation. So he said, I want to get involved with you guys. The Hamptons is a wonderfully welcoming place to make art. I think going back to the time of Jackon Pollock and before him the tile painters, this has been an artist colony. And I think there is still a spirit of that around."Josh Gladstone has served as Artistic Director of the John Drew Theater at Guild Hall since 2000 where most recently he directed Alec Baldwin, Blair Underwood and Rob Morrow in the comedy Stan The Man by Eugene Pack, and acted alongside Mercedes Ruehl and F. Murray Abraham in Jules Feiffer's A Bad Friend, an evening celebrating the playwright's 90th birthday. At the Drew he's directed and produced such plays as Romeo & Juliet, Extinction, Steve Martin's The Underpants, All My Sons starring Laurie Metcalf and Alec Baldwin; Clever Little Lies starring Marlo Thomas; Tony Walton's productions of Tonight at 8:30 starring Blythe Danner, Equus starring Alec Baldwin and Moby Dick Rehearsed starring Peter Boyle; and The Glass Menagerie starring Amy Irving. Regional credits include Children's Theatre Co.; Shakespeare Theatre, DC; and four seasons as Artistic Director of Hamptons Shakespeare Festival.www.creativeprocess.info

Josh Gladstone has served as Artistic Director of the John Drew Theater at Guild Hall since 2000 where most recently he directed Alec Baldwin, Blair Underwood and Rob Morrow in the comedy Stan The Man by Eugene Pack, and acted alongside Mercedes Ruehl and F. Murray Abraham in Jules Feiffer's A Bad Friend, an evening celebrating the playwright's 90th birthday. At the Drew he's directed and produced such plays as Romeo & Juliet, Extinction, Steve Martin's The Underpants, All My Sons starring Laurie Metcalf and Alec Baldwin; Clever Little Lies starring Marlo Thomas; Tony Walton's productions of Tonight at 8:30 starring Blythe Danner, Equus starring Alec Baldwin and Moby Dick Rehearsed starring Peter Boyle; and The Glass Menagerie starring Amy Irving. Regional credits include Children's Theatre Co.; Shakespeare Theatre, DC; and four seasons as Artistic Director of Hamptons Shakespeare Festival.www.creativeprocess.info

Latest Spirituality & Mindfulness interview from The Creative Process' MAIN CHANNEL. To listen to more of our interviews across the arts and other disciplines, visit tinyurl.com/thecreativepod, tinyurl.com/thecreativespotify, or wherever you get your podcasts. This THEATRE podcast focuses on interviews about theatre and the performing arts, but you can find hundreds more conversations across the arts, culture, society & the environment on our main channel. We hope you'll check it out!For more than 30 years, Master Shi Heng Yi has been studying and practicing the interaction between mind and body. His strength is the ability to smoothly combine this knowledge with physical exercises and to practice Martial art –Kung Fu and Qi Gong. He has an academic background but he prefers to live at the Shaolin Temple Europe, Monastery located in Otterberg, Germany. Since 2010 he has been taking care of the settlement and he personifies sustainable development and spreading Shaolin culture and philosophy.· www.shihengyi.online · www.shaolintemple.eu · www.creativeprocess.info · www.oneplanetpodcast.org

"When I was growing up and studying to be an actor as a young man, I'd read plays that were most often based in New York City. A lot of the writers came out the New York writing school, per se, and while I could understand it and relate to it and growing up in Chicago it wasn't that difficult for me to somewhat decipher the nuances of that, but when I read Mamet, to me, it was almost like–Yeah! I get it. This is a language I understand. It felt very comfortable to me. And I know he has told me that he has written characters with my voice in his mind as he wrote them, and so, again how lucky for me that that's the case, so it would at least make sense that I would have a certain degree of comfort and familiarity to that kind of Mamet-speak, whatever it may be. I feel very lucky that it's worked out that way that he's the writer that I ended up hooking up with."Actor, producer, writer and director, Joe Mantegna began his career on the stage with the 1969 musical Hair. He later earned a Tony Award for portraying Richard Roma in the first American production of David Mamet's play Glengarry Glen Ross, the first of many collaborations with Mamet.Mantegna has appeared in Three Amigos, The Godfather Part III, Forget Paris, and Up Close & Personal and other films. From 2007 to 2020 he starred in the CBS TV series Criminal Minds as FBI Supervisory Special Agent David Rossi. Since 1991, he's had a recurring role on The Simpsons as mob boss Fat Tony. He earned Emmy Award nominations three miniseries: The Last Don, The Rat Pack, and The Starter Wife. He's executive produced for various films and TV movies, including Corduroy, Hoods, and Lakeboat, which he also directed.