The computer, the noise of the computer feels like impatience. It's sort of the sound of impatience to me.

I'm happy that I feel a little less out of place in filmmaking than I once was - but it's almost impossible for a playwright in the U.S. to make a living. You can have a play, like I did with 'Angels,' and it still generates income for me, but it's not enough for me to live on and have health insurance.

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.'

Love is the world's infinite mutability; lies, hatred, murder even, are all knit up in it; it is the inevitable blossoming of its opposites, a magnificent rose smelling faintly of blood.

Unions are susceptible to the same ills that befall all human societies.

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

I think that when you're writing plays, and I think it's also true with novels, it helps to have an ear for the music of language, for what we call poetry, for the sound effects and the way that the sound can produce sensual feeling at odds with or consonant with the content of the work. Your work is also gorgeous writing. It's very unfortunate when you open a novel that everybody's loving and it's just, you know, an excruciatingly bad sentence.