I feel that I'd rather know an actors' work, or have an instinct about them and sit down and have coffee with them, or I'll see them in something and I'll see if I can get along with them in some way, shape, or form.

The rooms I tend to be in are pretty democratic and the best idea wins.

I began stealing a lot of ideas from other directors I had worked with.

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.

In Chekhov, when people leave, a carriage is taking them away forever. The stakes are so high just for someone to make a simple exit. And now we have all this access to public transportation, automobiles and jets and the Internet; we're so easily distracted, but the world is still designed to destroy you. It just happens quicker and faster now.

You have to escape to survive, as you must survive to escape.

I think I'm a little more daunted by when the machinery of the play is really huge.