Theatre · The Creative Process: Acting, Directing, Writing & Behind the Scenes Conversations

"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/nm0001246 www.imdb.com/name/nm1452688/?ref_=fn_al_nm_1 www.imdb.com/title/tt1532495/ https://outsidersmusical.com/ www.hachettebookgroup.com/titles/adam-rapp/wolf-at-the-table/9780316434164/?lens=little-brown www.creativeprocess.info www.oneplanetpodcast.org IG 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/nm0001246 www.imdb.com/name/nm1452688/?ref_=fn_al_nm_1 www.imdb.com/title/tt1532495/ https://outsidersmusical.com/ www.hachettebookgroup.com/titles/adam-rapp/wolf-at-the-table/9780316434164/?lens=little-brown www.creativeprocess.info www.oneplanetpodcast.org IG 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.html https://www.imdb.com/name/nm1357677/ www.creativeprocess.info www.oneplanetpodcast.org IG 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.html https://www.imdb.com/name/nm1357677/ www.creativeprocess.info www.oneplanetpodcast.org IG 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/nm0249046 www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast Artworks: “Beach Day”, “Marsha”, “Karen” Courtesy of the Artist Lisa Edelstein in the Studio Photo 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/nm0249046 www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast Photo credit: Mitch Stone Courtesy 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.com www.simonandschuster.com/books/Here-in-Avalon/Tara-Isabella-Burton/9781982170097?fbclid=IwAR30lnvlXMrDJtCq_568jUM3hvzr6yUz_GUUZSkbR2RarreOF6PMcvhabBg www.amazon.com/dp/B07W56MQLJ/ref=sr_1_fkmr0_1?keywords=strange+rites+tara+isabella+burton&qid=1565365017&s=gateway&sr=8-1-fkmr0 www.creativeprocess.info www.oneplanetpodcast.org IG 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.com www.simonandschuster.com/books/Here-in-Avalon/Tara-Isabella-Burton/9781982170097?fbclid=IwAR30lnvlXMrDJtCq_568jUM3hvzr6yUz_GUUZSkbR2RarreOF6PMcvhabBg www.amazon.com/dp/B07W56MQLJ/ref=sr_1_fkmr0_1?keywords=strange+rites+tara+isabella+burton&qid=1565365017&s=gateway&sr=8-1-fkmr0 www.creativeprocess.info www.oneplanetpodcast.org IG 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.org IG 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/@sciencesandbox www.davidbyrne.com https://nickny.com/bio https://www.simonsfoundation.org/people/john-tracey/ https://peoples.tv/director/ian-moubayed/ www.creativeprocess.info www.oneplanetpodcast.org IG 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/@sciencesandbox www.davidbyrne.com https://nickny.com/bio https://www.simonsfoundation.org/people/john-tracey/ https://peoples.tv/director/ian-moubayed/ www.creativeprocess.info www.oneplanetpodcast.org IG 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 Curtin 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. www.imdb.com/name/nm0193160/ www.npcowgirls.org www.creativeprocess.info www.oneplanetpodcast.org IG 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 Curtin www.imdb.com/name/nm0193160/ www.npcowgirls.org www.creativeprocess.info www.oneplanetpodcast.org IG 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/nm0788234 www.creativeprocess.info www.oneplanetpodcast.org IG 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/nm0788234 www.creativeprocess.info www.oneplanetpodcast.org IG 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/nm2229726 www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_i www.creativeprocess.info www.oneplanetpodcast.org IG 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/nm2229726 www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_i www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast