A multivalent culture is an amazing place to be writing theatre.

I used to paint and I used to draw, and I probably would have loved to have been a portrait painter if I'd been good enough, but I really wasn't good enough.

I don't read a word that's written about me. I don't read my own interviews. I don't read reviews. I think it would drive me insane.

I try to interpret how people subjectively experience life. Everyone has a great, horrible opera inside him. I feel that my plays, in a way, are very old-fashioned. They’re pre-Freudian in the sense that the Greeks and Shakespeare worked with similar assumptions. Catharsis isn’t a wound being excavated from childhood.

I see, in women friends, a really dangerous phenomenon where it seems they reach a certain age and become invisible.

In America I think it's much more full of disruption culturally; it's much more mysterious how we inherit culture here. We grab it where we can find it - we're insatiable - and there can be a sense here that it's not available to you as readily as it is in other cultures.

What I really value about being a writer is that I can go to rehearsal when I want to, and then, when I need to be at home writing or with my kids, I go home.