It is better of course to know useless things than to know nothing.

Rewriting isn't just about dialogue, it's the order of the scenes, how you finish a scene, how you get into a scene. All these final decisions are best made when you're there, watching. It's really enjoyable, but you've got to be there at the director's invitation. You can't just barge in and say, "I'm the writer."

I don't act, I don't direct, I don't design.

Life in a box is better than no life at all, I expect. You'd have a chance at least. You could lie there thinking: Well, at least I'm not dead.

We do on stage things that are supposed to happen off. Which is a kind of integrity, if you look on every exit as being an entrance somewhere else.

I have to go with what I do, and what I do has more to do with what people say to each other than telling a story through images. Of course, you're trying to do both. And there are some people who are brilliant at it, but I don't consider myself to be particularly good at it. My mind gets into a verbal mode.

...Everything has to be taken on trust; truth is only that what is taken to be true. It's the currency if living. There may be nothing behind it, but it doesn't make any difference so long as it is honoured. One acts on assumptions. What do you assume?