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.

You gotta have swine to show you where the truffles are.

Writing should be useful. If it can’t instruct people a little bit more about the responsibilities of consciousness, there’s no point in doing it.

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.

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.

I usually think about a play anywhere from six months to a year and a half before I sit down to write it out.

Unless you are terribly, terribly careful, you run the danger-- without even knowing it is happening to you-- of slipping into the fatal error of reflecting the public taste instead of creating it. Your responsibility is to the public consciousness, not to the public view of itself.