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

Well, when I was six years old I decided, not that I was going to be, but with my usual modesty, that I was a writer.

Audiences and, to a large extent, critics who want less from theater than it is possible for it to give. If everybody's encouraged to want less, you'll end up with less.

In the theater, which is a sort of jungle, one does have to be a little bit careful. One mustn't be so rigid or egotistical to think that every comma is sacrosanct. But at the same time there is the danger of losing control and finding that somebody else has opened a play and not you.

You may dislike the intention enormously but your judgment of the artistic merit of the work must not be based on your view of what it's about. The work of art must be judged by how well it succeeds in its intention.

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

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.