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.

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.

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 feel like my life is at its happiest when I don't have a looming deadline. There's some really groovy wonderful times, when I'm like, "I have a new piece, I'm excited about it, I'm reading all these books about it, but there's not a lot of time pressure, and I'm financially stable enough right now that I don't have to be trying to get another job." But that's so rare.

I was raised by a single psychologist mother and we spent every evening sitting at the kitchen table and dissecting our emotions and speculating about the inner life of everyone we knew.

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