You always end up with too much, so it's good to be part of the conversation about not just what you can omit, but how you are going to do the grammar of the omission, how you make things continue to work when there's something missing. It's your last chance to rewrite.

In the theater there is often a tension, almost a contradiction, between the way real people would think and behave, and a kind of imposed dramaticness.

The truth is, we value your company, for want of any other. We have been left so much to our own devices—after a while one welcomes the uncertainty of being left to other people's.

ROS: Why don't you go and have a look? GUIL: Pragmatism?! - is that all you have to offer?

We're actors. We're the opposite of people.

I never had any frustration about writing uncredited. I always felt that the satisfaction of doing it was in the doing of it, really, and getting recognised by the small number of people that know what you did.

It would have been nice to have had unicorns.