If I think back to every rehearsal process for every play I've ever worked on, there's just so much crying at home. I barely sleep. There are moments of deep despair and anxiety, and then there are moments in rehearsal that are the most exhilarating; feeling seen and seeing everybody. Feeling like you have a purpose on the planet. A huge part of the process I enjoy is watching the actors figuring out what they can handle and what they can take and what they need from the director and me.

I'm terrible at speaking extemporaneously about my work - I get completely tongue-tied and consumed with fear.

For me, on every project, I realize that I've boxed myself into a corner, or that the play necessitates some sort of theatrical convention that I realize I hate while I'm making it. So then the next play is always a rebellion. Or like, the thing I didn't even realize I was doing last time I will make sure I don't do this time. But there's always some other blind spot. And then that blind spot inspires the play that comes after.

If I were less lazy, when my play was published, I would go and rewrite everything for the reader. But I don't do that. What people are reading is just me trying to get the actors and directors to do something or think about something.

I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.

I'm very interested in silence. And, more importantly, in what happens when people aren't talking on stage. I'm interested in letting actors play and do things between the lines. And in slowing everything down.