I know something about dread myself, and appreciate the elaborate systems with which some people fill the void, appreciate all the opiates of the people, whether they are as accessible as alcohol and heroin and promiscuity or as hard to come by as faith in God or History.

Going back to California is not like going back to Vermont, or Chicago; Vermont and Chicago are relative constants, against which one measures one's own change. All that is constant about the California of my childhood is the rate at which it disappears.

Writers are only rarely likable.

It is hard for people who have not lived in Los Angeles to realize how radically the Santa Ana figures in the local imagination. ... The wind shows us how close to the edge we are.

I myself have always found that if I examine something, it's less scary. I grew up in the West, and we always had this theory that if you saw - if you kept the snake in your eye line, the snake wasn't going to bite you. And that's kind of the way I feel about confronting pain. I want to know where it is.

Once in a while there were things in screenwriting that taught me things for fiction. But there's nothing in screenwriting that teaches you anything for the theater. I'm not sure I've ever fully appreciated before how different a form theater is.

New York was no mere city. It was instead an infinitely romantic notion, the mysterious nexus of all love and money and power, the shining and perishable dream itself. To think of 'living' there was to reduce the miraculous to the mundane; one does not 'live' at Xanadu.