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.

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.

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

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.

Some really good things kind of swing both ways and I like to see people that can swing really, really, really sad and horrible and terrible and really, really, really beautiful and funny.

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 did write a couple of original screenplays, but I'd rather write plays.