I grew up in a very polite family, and I suppose my parents were both very polite, and from the time I was a young boy, I suspected that there were passions seething underneath and not being mentioned, and that was something that came to preoccupy me. Somehow I had some drive to write down what people might really be thinking.

In my early 20s, I studied history and politics, and I really thought that perhaps I would devote my life to that.

I'm trying to write truthfully about life, and naturalism, or the way people normally talk in movies, is a convention. The way I write is about life and is quite truthful, and there is a kind of brutal side to the relationship, and to the feelings, that makes it somewhat painful, but I think it's a very intense portrait of the relationship of two people. And a bit about what people feel like when they're alone, because it all takes place in one day, and during the day, they spend a lot of time alone in their different - you get to imagine what their fantasy lives are like.

When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.

In an amusement park, you can go on a roller coaster that carries you up and down, or you can go on another kind of ride that whirls you around in a circle. Similarly, there are different sorts of entertaining experiences in the theater.

I don't happen to have a sense of humor personally, so I don't know what's funny about a character... This happens to be a feature of my life generally.

Interestingly, the actress who, in her own persona, may be gentle, shy, and socially awkward, someone whose hand trembles when pouring a cup of tea for a visiting friend, can convincingly portray an elegant, cruel aristocrat tossing off malicious epigrams in an eighteenth-century chocolate house.