I do think there's a relationship between a book and a reader that's more intimate, in many ways, than the relationship between an audience member and a play - just by the nature of it being an object that you can have in bed with you and that you can keep and page through.

Theatre is, at its roots, some very brave people mutually consenting to a make believe world, with nothing but language to rest on.

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.

We all exist in relation to the world, our partners, the human race.

No one likes kids. We say we do, and we take pictures of pregnant women for People Magazine, but really they're commodities - we hate them around, we hate them on airplanes, we consider them a grand imposition and almost a style choice.

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.

Being dead is the most airtight defense of one's own aesthetic.