I see a great lack of stories around. I bought six literary magazines and looked through them to see what people were doing. There wasn't a story in them. They were all about how poetic the feelings of the author were.

Most people I meet are secretly convinced that they’re a little crazier than the average person. People understand the energy necessary to maintain their own shields, but not the energy expended by other people. They understand that their own sanity is a performance, but when confronted by other people they confuse the person with the role.

My feeling is the moment the theatre is not full you have to do something else. But most people somehow think 'If we did it better, they would come'. No. They don't come.

In a scene [where the improvisers must interact] without the letter S, the audience is waiting for you to lose - so they can laugh at you. Don't try to win.

I'm not against work, I think work is great, I work a lot; but if you want to play, the consequences must not be important.

Good impro can make you laugh, we love it, but soon the content is forgotten. Good scenes from The Life Game stay with you always. They haunt you.

In my school, the library was forbidden. I was accused of turning on the radiator so that the [class]room was uninhabitable and the ceiling came down below; I'm pretty sure I didn't do it. But then we were moved to the library. And there was a really boring history thing, about the Spanish Armada: how could you make that boring?!So I reached my hand out, and slid a book off to read under the desk, and it opened at King Lear Act Four Scene Six. I was astounded. I'd never seen language like it. I was awestruck. I think that may be one reason why I got involved in theatre.