You gotta have swine to show you where the truffles are.

I think you remember everything ... you just can't bring it to mind all the time.

I don't pay much attention to how the plays relate thematically to each other. I think that's very dangerous to do, because in the theater one is self-conscious enough without planning ahead or wondering about the thematic relation from one play to the next. One hopes that one is developing, and writing interestingly, and that's where it should end, I think.

About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.

If I've been accused a number of times of writing plays where the endings are ambivalent, indeed, that's the way I find life.

Martha: Truth or illusion, George; you don't know the difference. George: No, but we must carry on as though we did. Martha: Amen.

I suppose, writing a play is finding out what the play is.