I was able to capture on film things the actors didn't even know they were doing.

I gave my life to the Group Theatre, because in it I'm building something for myself. What I build, I am.

The real challenge is not simply to survive. Hell, anyone can do that. It’s to survive as yourself, undiminished.

The physical life of the scene is determined by whether the set squeezes people together or whether the set has an escape place in it.

I have no spy stories to tell, because I saw no spies. Nor did I understand, at that time, any opposition between American and Russian national interest.

I would rather do what I did than crawl in front of a ritualistic Left and lie the way those other comrades did betray my own soul.

Miller didn't write Death of a Salesman. He released it. It was there inside him, waiting to be turned loose. That's the measure of its merit.