When I'm directing, I'm pretty much not writing, but when I'm not directing I am writing a lot.

I've been living in Portland for five months and I'm not sure how I feel about it. I probably won't really know for years because that's how it works right? You don't really develop feelings about a place till you've left it. It's like a girl or a dog.

My work is always more emotional than I am. My characters say things to each other that I get accused of not being able to say to my girlfriend.

When I got inside, I just sort of stood there. There's nothing stranger than the smell of someone else's house. The scent goes right to your stomach. Mary's house smelled like lemon furniture polish and oatmeal cookies and logs in a fireplace. For some reason it made me want to curl up in the fetal position. I could have slept right there on their kitchen table.

I find auditioning to be a very illusive process, where actors come in with this really big result with no process, so it's a lie already at work.

One of the tricks to writing great plays is to get people in a room together and not let them leave. You want the tension to escalate. Keeping them there is the hardest part, so you have to take away any excuse for them to leave.

I've never really felt good at the parties, but I have enough friends now that I feel social, I used to feel very antisocial, but I think the theater helps.