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the waverly gallery monologue

This would go nicely in a book, but no one would say this and no one can act it." But I don't know whether this is grandiosity or what, or just a desire for the material to stay alive, but I try not to worry about that too much. Most plays are just talking! And I thought of faith in other people, faith in other people, and the idea of putting your faith in someone who may not necessarily have earned it. The Waverly Gallery. And I was so pleased that he had liked anything that I had done, that I then thought, "Oh, I'm very good at dialogue." What was it that resonated with people in that? I like all three of them, but I think that's the most interesting. LONERGAN: Well, you want your plays to have a life. She just was very thoughtful and also very, very insightful. LONERGAN: Yeah, and it's not your movie. But it's a play. Yeah. And it just went on and on and on. How are we gonna make sure, the person might not wanna take a shower, or they take too many, you know? Gladys is a kind, loving person. ALTSCHUL: So the two rewrites were scrapped and –. No, they mean something else? It's a funny word to use, but there's something fun for me about tryin' to put it down as if you looked into the room, that's exactly what you would see. And then they ended up making the film a few years later. And she was also very, very honest and blunt, without being mean, but it was very valuable, 'cause most people, you beg your friends to be truthful with you, and they tend to soft-pedal their criticisms a bit anyway, unless they're just smart asses who like to criticize you, in which case you don't need their help. ALTSCHUL: But she was an extraordinary woman. This is descriptive. Like a spy novel. Son-in-law Howard  (a stolid David Cromer) tries to keep peace. I mean, who knows? And this was a big deal for me. ALTSCHUL: Yeah, the ties within the family were beautiful in the short hand. ALTSCHUL: You mentioned that you were living next door to her. They're talking." Who knows? But with no story, it's not interesting. But I didn't really feel like I had finished, I didn't feel safe with the material till she'd said it was okay. I got a lotta money for it. Even though life can often be extremely difficult, there's always other things happening, so there's a feeling there's a false manipulative feeling to me when you forget to mention that the person at the other table is having a great time while you're being broken up with by your girlfriend or worse. You know, you feel like there are these options and none of them lead to a good place. And if they're anywhere near www you want them to do, it's really a good idea not to say too much. ALTSCHUL: You know, "This Is Our Youth," it's a play, it's young people, and it's just talking. So I never had to be wild, I never had to go nuts and be put away in some hospital, I never had to do those things because I knew she would do them, and then she and I would hook up again and we’d stay up all night and talk and it would all be integrated, we’d be a whole person together. And then what happens? Why were the audiences drawn to that film? Watch CBS News anytime, anywhere with the our 24/7 digital news network. In that case I kind of knew what the main relationship was, what the ending would be, and what the structure of the events was going to be. It's hard to get these productions up. My mother and Gladys’ had vastly different backgrounds. And she was very much towards what was towards the behavior, and not so much the words. She was very, very gregarious. I think I'm more oriented towards actors than some of the directors that I had worked with were. LONERGAN: Oh, I'm afraid that's true. Mostly they were having problems with Leonardo DiCaprio's character. So when people say there's no story, there are no plot line, it's no beginning, middle and end. And then the fact when people put their faith in you, sometimes you try to live up to it. Daughter Ellen (the wonderful Joan Allen) struggles to put aside submersed mother-daughter strife and find patience. I hadn't had a lot of life experience. You can know a lot more about them they you might know about a character that you have invented. LONERGAN: No, I mean the play is about her at a age she wouldn't wanna be seen at, and a state of mind she wouldn't want anyone to be witness to. I think that's come up to occupy equal space in my mind. LONERGAN: I thought it would be funny if he took him on and all sorts of terrible things happened afterwards! (CHUCKLES) Or get anything right in life, 'cause everyone else is pursuing their own agenda, with perfect reason. LONERGAN: Yeah, she went there all the time. ALTSCHUL: What was your experience with that process? They're Freudian psychoanalysts. And as much so as being a playwright, I'd say. Gladys shelters him because she’s neither here nor there, too. In a funny way, your memories of something you're using directly, if you're pulling actual memories or experiences into the material, and pulling invented people and events into the material, in a funny way it's the same function. And I was able to write plays and do what I wanted for three years. If it was dirge it would be terrible. ALTSCHUL: So if you were to do something differently, you might have said, "Okay, guys." LONERGAN: And that somehow got around to this brother and sister, one of whom was a religious person and the other of whom wasn't. I would have had more respect for their anxieties, even though I don't think I could have had more respect for their opinions about the film, 'cause they weren't very interesting or original or anything. Gladys’ grandson Daniel wonders why Gladys kept going on so long and concludes “it makes you think it must be worth a lot to be alive.”  This wonderful play simply but profoundly reminds us of how much the living memory  means. Your parents had their hands full. LONERGAN: "Analyze This" was an original script that I wrote. She did a lot of work on housing issues. Kenneth Lonergan's grandmother, with her pet Dalmatian. (LAUGHS) So then it's very simple to understand that you shouldn't talk! ALTSCHUL: Why was that film a hard film to make in the end? And if something’s happened to her … you don’t know, I’m totally screwed. And one of my college friends was my roommate, so we split the rent. Or the locks on the doors, the gas on the stove, or just arrangements of who's gonna take so-and-so to the doctor, to the eye doctor, and that becomes a big part of your life. I think more the '50s. LONERGAN: Just a little, well, a lot of the material. She started to talk at them, and it became harder and harder for her to be engaged in the world the way she wanted to be. ALTSCHUL: It was 20 years ago that you were writing "The Waverly Gallery." LONERGAN: Well, I just [had] one small theatre experience after another. I love this little scene." © 2018 CBS Interactive Inc. All Rights Reserved. And I found that I was able to communicate with the actors, I thought, better than some of the directors that I'd worked with. ALTSCHUL: Well, it worked out in the end in that if one wants to see your version of the film, you're a click away. So I was there for her last two years. And funny, yreah. And I really don't care for the theatrical version in retrospect, and the extended edition is more representative of the film I wanted to make. It can be really fun. LONERGAN: Not too well! Just you feel you do want it to stand on its own and not require your descriptions of it.

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