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.

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

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

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.

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.

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.

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.