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

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.

I don't mind him not talking so much, because you can hear his voice in your heart; the same way you can hear a song in your head even if there isn't a radio playing; the same way you can hear those blackbirds flying when they're not in the sky

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.

I don't put big concepts on my work, and it's all often about keeping actors in a room together and not letting them leave.

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

Fifteen years ago I killed my sister.