My fault now is making my plays too short.

Part of that is that New York has proved to be too much fun for me to live and work; I love New York so much.

There are probably brilliant people, geniuses, alive today who don't even know how to say, "Hello, how do you do?" because their minds are absorbed with electronic images.

Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.

But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.

I just loved being divorced from my own wretchedness.

Plays are so much more special if they've never ever had a production, but I think you can really work on a play and make it better with each production.