My first few plays took place in the South and even The Lucky Spot was in the thirties but in Louisiana.

In movement class, you had to lie on the floor and get your alignment in to pass the class.

It's really interesting that whenever you do something that is so out of character, like having an emotional outburst, that you don't get in trouble.

But when I got to SMU and decided to take a playwriting class, I said this isn't a bad idea. IfI write characters, they could be as dumb as me, and I don't have to be very smart.

The most glorious thing about working in the collaborative art is when you have somebody like Susan Kingsley or Kathy Bates who are better than your play.

That was always my inclination, to start on a new play before the other one gets done, because at least you'll have something to go back to if that play gets trashed.

I tried to start a theatre in LA and failed miserably, but I was probably not meant to raise money.