to somebody? how much does natural human empathy kick in against my reporter s instincts? i m sure you have that. you must ve had that. so, i ve had that problem with other subjects because i know how sensitive and easily wounded they might be. he was unbelievably easy in this regard because he himself, by his own admission, lacks a lot of human feeling. i knew he didn t feel anything about me. he didn t care about me. he never asked me a single question about myself. he never asked me what i was doing. he didn t ask me, like, what was it like to write moneyball? nothing. no question like that. no interest whatsoever in me, and i sensed it. so, it was pretty easy for me not to have that much interest in his feelings. that s interesting. do you ever have that with your characters? do you feel they ve got close to you or into your heart or into your brain, and therefore it s hard to be objective about them ?
One of my unions’ current CBA has a new form of compensation for excess workload . This new language recognizes that faculty, counselors, librarians and coaches are performing unwaged labor …
because you took enron, which was a play about a massive financial scam, which came during the sort of tech boom of the late 1990s and early 2000s. it preceded the financial crash. you wrote a play about it. it was a very powerful play, which did extraordinarily well in london. you took it to broadway, a hugely expensive production. yeah. and within a month, it closed. yeah. it was maybe one of the biggest losses of money on broadway. well, it s certainly in the top few. so, if you drip blood into your creative process, how damaging, how hurtful was that? imean. how hurtful was it? it s a really great question. it felt. the word that comes to mind more than hurt is shame. you feel very ashamed. really? yeah. because, you know, for a while, the eyes of a certain industry are on you, you know? and you feel like everybody s watching you fail. and there is a very human
how hurtful was it? it s a really great question. it felt. the word that comes to mind more than hurt is shame. you feel very ashamed. really? yeah. because, you know, for a while, the eyes of a certain industry are on you, you know? and you feel like everybody s watching you fail. and there is a very human feeling of shame to that. also, the shame of losing people like investors money and, you know. of course, the huge irony is that that production ended up repeating exactly the journey of enron. this hugely hyped thing turned up on the great white way in broadway with lots of people s money in it and just collapsed, very much like the energy company. and i tell you, if i didn t know the feeling of the show i was making till then, i did afterwards, you know. and so it was a very. yeah, it. look, success makes you attractive,
you wrote a play about it. it was a very powerful play, which did extraordinarily well in london. you took it to broadway, a hugely expensive production. yeah. and within a month, it closed. yeah. it was maybe one of the biggest losses of money on broadway. well, it s certainly in the top few. so, if you drip blood into your creative process, how damaging, how hurtful was that? imean. how hurtful was it? it s a really great question. it felt. the word that comes to mind more than hurt is shame. you feel very ashamed. really? yeah. because, you know, for a while, the eyes of a certain industry are on you, you know? and you feel like everybody s watching you fail. and there is a very human feeling of shame to that. also, the shame of losing people like investors money and, you know. of course, the huge irony is that that production ended up repeating exactly