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Interviewer: So where are we?

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Elizabeth: Right now?

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Interviewer: Yeah, where are we right
now?

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Elizabeth: At the preforming garage, 33
Wooster Steet, New York City

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Interviewer: And what is this place?

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Elizabeth: This place is our home,
This place is our studio,

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this place is our theater, this place is
our office.

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Interviewer: And who is we?

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Elizabeth: The company, The Wooster Group

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Interviewer: And what is the Wooster 
Group?

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Elizabeth: It's an ensemble theatre.

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Interviewer: And what do you do?

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Elizabeth: Why'd you have to get to the hard
one's so fast?

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What do I do?

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I move around, in a space and arrange it
in a way that's pleasing to moi and I move

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furniture, I move stage furniture and 
people around and I listen to them talk.

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I think I'm a director, [laughs] I think
I'm a director, but I'm not sure.

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[Phone rings]

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I'll get it.

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[Laughter]

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Hello?

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[Distant chattering]

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[Calm music]

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Interviewer: Now why did you pick
Vieux Carré?

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Elizabeth: Because, uh, one of our performers
got a shepherd, caught me saying

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something about, um, Tennessee Williams
being our greatest playwright, or at least

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discussing the possibility that he was
better than O'Neal, and so Scott,

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in his imitable way said that, 'well, why
aren't you doing Tennessee Williams?'

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Not--it didn't feel like a regular
Tennessee Williams play, the dark side of it

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was cut by this other weird thing that I
didn't know what it was,

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but some kind of a, some kind of a farcical thing.

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I though, oh the blending of those two
things that earlier Tennessee Williams the

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kind of dark and, uh, lyrical voice next
to this kind of rock, a satirical one.

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I thought was good for us.

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Interviewer: Do you start with a
visual image?

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Elizabeth: Yes, I do.

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I started, but it was a visual image
that was from the play before,

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which is Hamlet.

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Because all of them for me, they're
like tales that go through my mind

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and the visual is my mind.

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So the visuals not necessarily
a literal picture of-- you know, like

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in naturalistic theatre.

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It's an amalgamation of sort of
architectural things that, that feel like

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my visual landscape,
my personal visual landscape.

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And then I have to bring the text to it
and my visual landscape towards the text.

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[Slow music]

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[Outro tune]