I think because my brother was an actor and I just saw how he struggled through, I guess I'm sensitive to it.

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.

I think auditioning can be very reductive and I just hate how actors work really hard and most of them aren't going to get the job, and I hate putting them through that.

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 would hope that the staffs at juvenile detention centers and reform schools are carefully chosen so that there is a community of support and hope.

You can always count on the New York Times to cut your legs off.

I suffer from and enjoy an incredibly vivid dream life. A lot of times there is a sort-of narrative and other times they are just funhouses of non-linear imagery and other scary stuff.