I go into any movie that's historical fiction thinking, 'OK, I'm here to watch a work of art, something delivering a series of opinions, and if it's a good work of art, these opinions become so deeply embedded in complexity and richness that I won't even be bothered by the opinions. I'll make my own mind up.'

One of the things I learned in 'Slavs!' is that it's much easier to talk about being gay than it is to talk about being a socialist. People are afraid of socialism, and plays that deal with economics are scarier to them.

Nothing's lost forever.

That it should be the questions and shape of a life, its total complexity gathered, arranged, and considered, which matters in the end, not some stamp of salvation or damnation that disperses all the complexity into some unsatisfying little decision - the balancing of scales.

A play is never finished. You'll find out how much I mean that when you read my Last Will and Testament.

People shouldn't trust artists and they shouldn't trust art. Part of the fun of art is that it invites you to interpret it.

I grew up in a small Southern town, and there were white people and black people. Coming to New York to go to Columbia, every time I went into the subway I was absolutely astounded because you see people from all over the world who actually live here - who aren't just here as tourists.