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

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

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.

I try not to write more than two or three, I try to just write one if possible, I write till the end at least a draft of a play or a novel; but sometimes, I'll take a break for a couple weeks for a project that is paying me money like a television project which I try to stay away from just to stay financially ahead of the game.

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.

I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, "well if I'm going to fight against this, I should learn how to direct".

There must be some unwritten law that says about fifty people have to move into your house when somebody dies. If it weren't for the smell of death clinging to the walls, you might think it was your family's turn to host the month neighborhood potluck supper.