When a critic sets himself up as an arbiter of morality, a judge of the matter and not the manner of a work, he is no longer a critic; he is a censor.

Naturally, no writer who's any good at all would sit down and put a sheet of paper in a typewriter and start typing a play unless he knew what he was writing about.

Sometimes I think the experience of a play is finished for me when I finish writing it. If it weren't for the need to make a living, I don't know whether I'd have the plays produced.

The characters' lives have gone on before the moment you chose to have the action of the play begin. And their lives are going to go on after you have lowered the final curtain on the play, unless you've killed them off.

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.

I suspect that the theme, the nature of the characters, and the method of getting from the beginning of the play to the end is already established in the unconscious.

There may be lots of questions that anybody - an actor or a director or anybody - can ask about a character in a play of mine that are not answered in the play, but if it's a question that I don't think is relevant, I don't bother about it. There's no reason to ask it.