A mainstay of New York theater since the early 1980s, the openly gay Paul Rudnick has become a latter-day Dorothy Parker, animating plays, screenplays, novels and a column in PREMIERE magazine (under...
Piscataway, New Jersey, USA
|Making the Boys||2011||Actor||Himself||20117|
|The Celluloid Closet||1996||Actor||Himself||19967|
|In & Out||1997||Screenplay||n/a||1|
|Addams Family Values||1993||Screenplay||n/a||1|
|The Stepford Wives||2004||Screenplay||n/a||1|
|Isn't She Great||2000||Screenplay||n/a||1|
|Jeffrey||1995||Play as Source Material||("Jeffrey")||1|
|In & Out||1997||Song||("Hail to Thee O Greenleaf High")||1|
|Published first novel "Social Disease"|
|First screenplay billed under his name, "Addams Family Values"|
|Published second novel "I'll Take It"|
|First produced screenplay, "Sister Act", credited as Joseph Howard; originally written as a vehicle for Bette Midler; when Whoopi Goldberg was cast and script was revived, opted for pseudonym|
|Did an uncredited rewrite on "The First Wives Club", produced by Rudin and starring Midler|
|Worked as a writer of book jacket blurbs|
|First produced play, "Poor Little Lambs", optioned by Hollywood but never produced|
|Worked as an uncredited script doctor on "The Addams Family"; first collaboration with producer Scott Rudin|
|Wrote the screenplay for "Isn't She Great", loosely based on the life of pulp author Jacqueline Susann and starring Bette Midler and Nathan Lane|
|Wrote the screenplay for the remake of ''The Stepford Wives,'' Bryan Forbes' 1975 cult classic|
|Returned to Off-Broadway with "The Naked Truth", a satire suggested by the furor over the photographs of Robert Maplethorpe|
|Began writing a monthly column for PREMIERE magazine under the pseudonym Libby Gelman-Waxner (date approximate)|
|Scripted the gay-themed hit comedy "In & Out", loosely inspired by Tom Hanks' Oscar acceptance speech; fifth collaboration with Rudin|
|Moved to NYC after graduating from Yale|
|Moved into a West Village apartment once owned by John Barrymore; served as the inspiration for the play "I Hate Hamlet" (1991)|
|Wrote screen adaptation of hit 1992 Off-Broadway play "Jeffrey", feature directing debut of Christopher Ashley, who also staged the play; also served as co-producer; Nathan Lane had scene-stealing cameo as musical comedy loving priest|
|Penned the stage hit "The Most Fabulous Story Ever Told" (directed by Ashley); act one featured a retelling of the Old Testament from a gay perspective (i.e., the creation story features Adam and Steve, not Eve); second act set in a Chelsea loft during a|
|John Raftis||Companion||relationship began c. 1993|
|Norman Rudnick||Father||died from lung cancer in 1992; second generation Polish Jew|
|Selma Rudnick||Mother||second generation Polish Jew|
|Yale College, Yale University|
|"Gloom doesn't help anyone. It's been the general rule that you don't use wit in the face of tragedy because it might trivialize it. That's crazy. It's especially important at those times. You acknowledge the awfulness. I mean, it's not 'Oh, AIDS, la-de-da.' But you don't let the disease rule. If you do, then it wins. And that is really intolerable." --Rudnick quoted in the Los Angeles Times, September 19, 1993.|
|"Hollywood will not only break your heart, it will also transplant it into a baboon. So if you go in, allowing your life and your imagination to hinge on a film project, you will be destroyed. I try to do the best work that I can, but I don't allow that kind of work to define me or be a personal source of happiness. If I did, it would kill me." --Rudnick to Michael Kaplan for Movieline, November 1993.|
|On the pitfalls of political correctness: "The sad thing is that there are so few gay movies that each one bears the burden of every ounce of political correctness. You forget that 'Philadelphia' was one film; it's extraordinary that it was made at all. You don't see people going after 'Intersection' in that way, saying, 'What about all the other Canadian architects?'" --Rudnick in Elle, June 1994.|
|Responding to the question, "Have you ever had the experience of someone like Carrie Fisher doctoring one of your scripts?": "It happened to me only early on, with 'Sister Act', which was my idea. I'd developed it for many years for Bette Midler. Eventually, it was rewritten by about half of Southern California. It became a form of jury duty. You had to spend five days on 'Sister Act'. It was actually more cruel than jury duty--and more lives were lost. It was a good lesson. And sad: I was fond of the original script." --Rudnick to Robert Hoffler for Buzzweekly, c. September 1997.|
|About writing "The Most Fabulous Story Ever Told": "I began to feel like God, creating the world, only of course I worked much harder--God never had to fix things during previews. As I wrote, I was forced to confront my own feelings about the largest possible issues: What do I believe in? How can anyone cope with the nightmares of plagues, holocausts and everday evil? And why do I look ridiculous in a yarmulke, especially if there is a bobby pin involved?
"We live in a world where Bed, Bath and Beyond sells menorahs molded with characters from the Winnie-the-Pooh books, where images of Jesus miraculously appear on taco shells, and where fans admire Madonna's recent study of the cabala and its effect on her toned triceps.
"In groping for spiritual exaltation, I've decided that there is only one god I can worship without question: comedy." --Rudnick from his article "If Sex Has Lost Its Shock Value, How About God?" in The New York Times, December 6, 1998.
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