And it is always Easter Sunday at the New York City Ballet. It is always coming back to life. Not even coming back to life - it lives in the constant present.

You don't push the button that says "Now I will write something that resonates in time." You don't know. It's what happens after a play is finished.

Like a dog, a playwright lives in an eternal present and a play is never closed.

I mean New York City is the financial capital of the world. It's where all the money passes through, the Dow Jones, whatever, that's where all the money goes.

1975 is as much a historical document as 1803.

I think a playwright must be his own dramaturg. I believe in a theater where the director and the playwright work together to create what they need.

There's no American playwright after 1945 who wasn't profoundly affected - who didn't have their DNA changed by Tennessee Williams.