Learning to write for the theatre is learning to be a human being, because the theatre by its very nature makes you deal with other human beings.

All reviews should carry a Surgeon General's warning. The good ones turn your head, the bad ones break your heart.

Lists are anti-democratic, discriminatory, elitist, and sometimes the print is too small.

I have been approached now and again about sitcoms, but, with very few exceptions, one simply needs to move to L.A. for at least a year or two these days if one wants to develop a series - which is what writing a pilot means. I've also been approached about writing episodes for sitcoms, but in order to do that one actually has to watch sitcoms. . . . Life's too short for television, and I don't what it on my actual gravestone, HE STARED AT A BOX FOR 10,000 HOURS.

Verse comedy is interesting to me because of the challenge of writing in rhymed couplets, which is not a form that's usually amenable to English, yet to me it gives great possibility for comedy.

Ultimately one has to pity these poor souls who know every secret about writing, directing, designing, producing, and acting but are stuck in those miserable day jobs writing reviews. Will somebody help them, please?

I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft.