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.

I was a very self-righteous 15-25 year old. Anyway, I wake up every morning and thank God I'm not a kid anymore.

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

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.

Being sad and going out on terrible dates and having horrible breakups and then having a shitty job and then quitting the shitty job and then wondering if you shouldn't have quit the shitty job and then getting a new shitty job that you get fired off of after six weeks, it's all so good for your writing.

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.