What I find interesting is how close you can run the laughter along the seam of seriousness, and occasionally cross it, so that half the house genuinely doesn't know whether to laugh or cry. Custard pie humour is fairly universal, but at the other end, which I'm more interested in, there's the humour that hovers on the darkness, that walks in the shadow of something else, not always that obvious.

Cats names are more for human benefit. They give one a certain degree more confidence that the animal belongs to you.

What I find interesting is how close you can run the laughter along the seam of seriousness, and occasionally cross it, so that half the house genuinely doesn't know whether to laugh or cry. Custard pie humour is fairly universal, but at the other end, which I'm more interested in, there's the humour that hovers on the darkness, that walks in the shadow of something else, not always that obvious.

I think of a plot, I think of an idea, and then I wonder, How can I get that onto the stage? . . . Whatever devices you use should always be there to serve the theme. If the theme has been overtaken by the device, then something's wrong.

Few women care to be laughed at and men not at all, except for large sums of money.

The darker the subject, the more light you must try to shed on the matter. And vice versa.

If you are flattering a woman, it pays to be a little more subtle. You don't have to bother with men, they believe any compliment automatically.