I don't like the climate in which writers have to work in the USA and I think it's my responsibility to talk about it.

If the work of art is good enough, it must not be criticized for its theme. I don't think it can be argued.

The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.

If you intellectualize and examine the creative process too carefully it can evaporate and vanish. It's not only terribly difficult to talk about, it's also dangerous.

As a playwright, I imagine that in one fashion or another I've been influenced by every single play I've ever experienced.

Each time I sit down and write a play I try to dismiss from my mind as much as I possibly can the implications of what I've done before, what I'm going to do, what other people think about my work, the failure or success of the previous play. I'm stuck with a new reality that I've got to create.

When one controls form, one doesn't do it with a stopwatch or a graph. One does it by sensing, again intuitively.