I don't think about taking a risk. I think about how far can I go. How can I make myself. What are the risks I must create.

However, the moral center of New York City, I believe, is the New York City Ballet.

Oh god, I'd just hate it if a certain dramaturg got a hold of a Pinter play, for example, which are all mystery and all music. That's how the life get's sucked out of plays.

I am the same artist with the same nagging questions I had in my early 20's. What's real and what isn't? How do we tell what's real in our lives? How do we see things as they are? What is my role in life? If the Signature hadn't forced the issue by devoting its season to my plays, I could at least believe I had changed. Really, they're all the same! What is SIX DEGREES OF SEPARATION but THE HOUSE OF BLUE LEAVES with money?

I think that some of these plays are lost in this new horror called development, which is a place for dramaturgs to say "let me tell you what your play means," and the life gets sucked out of a play.

Avoiding humiliation is the core of tragedy and comedy.

The rich live hand-to-mouth too-just on a higher level.