People talking about politics usually start from the ass end backwards in that they think you have a political agenda, and then you make your work fit that cookie cutter. It's the other way around. One works by simple observation, looking into things. It's usually called insight and out of that comes your view - not that you have the view first and then squash everything to make it fit. I'm not interested in cutting the feet off my characters or stretching them to make them fit my certain political view.

The heart with letters on it shining like a light bulb through the trim hole painted in the chest, art history.

Even in the tragedies, Shakespeare always put in parts for the comic actors because his audience was mixed. He puts in people who talk like aristocrats. He puts in idiots and fools. He puts in certain middle-range characters. And when you go to the Globe, you realize how that all works. The people who paid more sat in seats around the edge. Everybody else paid a penny. They put it into a tin box - that's why we call it the "box office." They stood in the pit, but they were very close, so when Hamlet was doing his soliloquy, it was addressed to you, the audience - right there.

I began writing at the age of 5, but there was a dark period between the ages of 8 and 16 when I didn't write. I started again at 16. And have no idea why, but it was suddenly the only thing I wanted to do.

He considers me also a little fragile because artistic. I need to be cared for, like a potted plant.

I knew what love was supposed to be: obsession with undertones of nausea.

If you're put on a pedestal, you're supposed to behave yourself like a pedestal type of person. Pedestals actually have a limited circumference. Not much room to move around.