Everybody wants to go see the big hit [at the theatre]. Not because it's any good. Because it's the big hit and everybody wants to be able to talk about the big hit.

I discover that I am thinking about a play, which is the first awareness I have that a new play is forming. When I'm aware of the play forming in my head, it's already at a certain degree in development.

In the two or three or four months that it takes me to write a play, I find that the reality of the play is a great deal more alive for me than what passes for reality. I'm infinitely more involved in the reality of the characters and their situation than I am in everyday life. The involvement is terribly intense.

I find that when my plays are going well, they seem to resemble pieces of music. But if I had to go into specifics about it, I wouldn't be able to. It's merely something that I feel.

I suppose if you simplify things, it's going to make it easier to understand.

I think I sit down to the typewriter when it's time to sit down to the typewriter. That isn't to suggest that when I do finally sit down at the typewriter, and write out my plays with a speed that seems to horrify all my detractors and half of my well-wishers, that there's no work involved. It is hard work, and one is doing all the work oneself.

And the west, encumbered by crippling alliances, and hardened with a morality too rigid to accommodate itself to the swing of events, must ..... eventually ..... fall.