I wanted to write a play about double nature ... one that wouldn't be symbolic or metaphorical or any of that stuff. I just wanted to give a taste of what it feels like to be two-sided. It's a real thing, double nature. I think we're split in a much more devastating way than psychology can ever reveal. It's not so cute. Not some little thing we can get over. It's something we've got to live with

Hollywood is geared toward teenage idiocy.

It's funny, in a way the actor is a writer. It's not like the two things are so separate as to be like apples and oranges. The writer and the actor are one.

It's hard to explain why exactly, but I think that when I began writing plays, it was from an actor's point of view more than anything. I had the feeling that if you put yourself in the position of the actor on stage and write from that perspective, it would give you a certain advantage in terms of being inside of the play.

This isn't champagne anymore. We went through the champagne a long time ago. This is serious stuff. The days of champagne are long gone.

My dad had a lot of bad luck. You could see his suffering, his terrible suffering, living a life that was disappointing and looking for another one.

Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster.