0:00:13.117,0:00:14.732
Interviewer: So where are we?

0:00:14.732,0:00:15.155
Elizabeth: Right now?

0:00:15.155,0:00:16.187
Interviewer: Yeah, where are we right[br]now?

0:00:16.187,0:00:20.655
Elizabeth: At the preforming garage, 33[br]Wooster Steet, New York City

0:00:20.655,0:00:21.805
Interviewer: And what is this place?

0:00:21.805,0:00:24.556
Elizabeth: This place is our home,[br]This place is our studio,

0:00:24.556,0:00:27.205
this place is our theater, this place is[br]our office.

0:00:27.205,0:00:28.437
Interviewer: And who is we?

0:00:28.437,0:00:31.319
Elizabeth: The company, The Wooster Group

0:00:31.319,0:00:32.735
Interviewer: And what is the Wooster [br]Group?

0:00:32.735,0:00:33.902
Elizabeth: It's an ensemble theatre.

0:00:33.902,0:00:36.368
Interviewer: And what do you do?

0:00:36.368,0:00:41.452
Elizabeth: Why'd you have to get to the hard[br]one's so fast?

0:00:41.452,0:00:44.167
What do I do?

0:00:44.167,0:00:58.685
I move around, in a space and arrange it[br]in a way that's pleasing to moi and I move

0:00:58.685,0:01:08.835
furniture, I move stage furniture and [br]people around and I listen to them talk.

0:01:08.835,0:01:14.753
I think I'm a director, [laughs] I think[br]I'm a director, but I'm not sure.

0:01:14.753,0:01:15.483
[Phone rings]

0:01:15.483,0:01:16.244
I'll get it.

0:01:16.244,0:01:18.064
[Laughter]

0:01:18.064,0:01:18.789
Hello?

0:01:18.789,0:01:27.680
[Distant chattering]

0:01:27.680,0:01:31.060
[Calm music]

0:01:31.060,0:01:33.419
Interviewer: Now why did you pick[br]Vieux Carré?

0:01:33.419,0:01:41.223
Elizabeth: Because, uh, one of our performers[br]got a shepherd, caught me saying

0:01:41.223,0:01:47.095
something about, um, Tennessee Williams[br]being our greatest playwright, or at least

0:01:47.095,0:01:53.304
discussing the possibility that he was[br]better than O'Neal, and so Scott,

0:01:53.304,0:02:01.704
in his imitable way said that, 'well, why[br]aren't you doing Tennessee Williams?'

0:02:01.704,0:02:05.944
Not--it didn't feel like a regular[br]Tennessee Williams play, the dark side of it

0:02:05.944,0:02:11.166
was cut by this other weird thing that I[br]didn't know what it was,

0:02:11.166,0:02:15.640
but some kind of a, some kind of a farcical thing.

0:02:15.640,0:02:22.158
I though, oh the blending of those two[br]things that earlier Tennessee Williams the

0:02:22.158,0:02:32.476
kind of dark and, uh, lyrical voice next[br]to this kind of rock, a satirical one.

0:02:32.476,0:02:36.258
I thought was good for us.

0:02:36.258,0:02:38.523
Interviewer: Do you start with a[br]visual image?

0:02:38.523,0:02:41.790
Elizabeth: Yes, I do.

0:02:41.790,0:02:45.356
I started, but it was a visual image[br]that was from the play before,

0:02:45.356,0:02:46.518
which is Hamlet.

0:02:46.518,0:02:52.284
Because all of them for me, they're[br]like tales that go through my mind

0:02:52.284,0:02:53.950
and the visual is my mind.

0:02:53.950,0:03:00.501
So the visuals not necessarily[br]a literal picture of-- you know, like

0:03:00.501,0:03:02.231
in naturalistic theatre.

0:03:02.231,0:03:08.515
It's an amalgamation of sort of[br]architectural things that, that feel like

0:03:08.515,0:03:11.047
my visual landscape,[br]my personal visual landscape.

0:03:11.047,0:03:16.048
And then I have to bring the text to it[br]and my visual landscape towards the text.

0:03:16.048,0:03:28.397
[Slow music]

0:03:28.397,0:03:34.713
[Outro tune]