I don't enjoy hearing the sound of my voice. The most important things for me are impossible to articulate extemporaneously.

For early plays of mine, I started with character. But I think that's because I hadn't been in theaters; I hadn't worked that much. I'm very interested in character, obviously, but once I started having my plays produced, I became so fascinated by the theatrical experiment and the weirdness of theatrical space, so now all my plays start with space and stage picture and setting - or container is maybe the better way to put it.

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

If anything, I was the opposite of most college students who think they can do anything.

There are certain early plays of mine that I really don't like, but I can't imagine going back and fixing them. I would be totally incapable of it. I'm not in the head of the characters anymore.

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.