What people really want in the theater is fantasy involvement and not reality involvement.

Your source material is the people you know, not those you don't know, but every character is an extension of the author's own personality.

The thing that makes a creative person is to be creative and that is all there is to it.

I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.

I imagine as an axiom you could say that the better the play, the less "creativity" the director need exert.

If a man writes a brilliant enough play in praise of something that is universally loathed, the play, if it is good and well enough written, should not be knocked down because of its approach to its subject.

What I wanted to get at is the value difference between pornographic playing-cards when you're a kid, and pornographic playing-cards when you're older. It's that when you're a kid you use the cards as a substitute for a real experience, and when you're older you use real experience as a substitute for the fantasy.