Tim Robbins

And it told us that we have this great opportunity.

And we started doing other plays.

But then right around the same time, I started getting work.

And I had financed Ubu the King on my salary from delivering pizzas in Beverly Hills.

If you're going to deliver pizzas, by the way, that's the place.

Good tips.

And so then I started working and I realized, oh, well, I can fund the next play with this one paycheck, right?

And so I started this kind of dance and my agents hated it because they're trying to build momentum.

And I would say to them, well, I'm happy to work through this time, but then I'm going to do a play.

And they're like, oh, Broadway?

I'm like, no, no, I've got this theater company and we're going to do this thing.

So I need like three months free, four months free.

And what happened was my perspective was one of use that great gift that you're getting from working in TV episodics and sitcoms and make art with that.

So this continued for the past 43 years.

So my sister Adele, who was in the play, so she was working as a stage manager at this place called the Theater for the New City.

And they were doing weird theater.

You know, this is like late 60s, early 70s, Greenwich Village.

You know, there were plays with nude people in them.

And so I got kind of interested in what she was doing.

and so uh crystal field who ran that theater company and still runs it to this day uh invited me to be in a play called undercover cop and i was to play a gang member and it was you know this kind of satire about what was going on in new york city at the time