But because we've all been readers, we know what the experience is like, and we hope that what certain writers have given to us, we will give to someone.

You're always fighting the contradiction between the supposed intimacy of a two-person conversation and the blunt reality that you're trying to sell the play to people who are sitting maybe too far away from you.

I'm a very lucky man. It's a beautiful thing for a writer, to see people allowing your words to enter their own unconscious and their souls.

I sincerely believe that if Bush and Cheney recognized the full humanity of other people's mothers around the world, they wouldn't commit the crimes they commit.

I don't see that many plays, and for me, musicals are rarely pleasing. I feel the actors are being put through a kind of nightmarish labor. They're like animals being forced to pull heavy carts of vegetables at incredible speeds.

I started writing plays in around 1967, and at a certain point, I thought, 'I'm writing plays, I should learn about acting and what it is.' So I went to the HB Studio in New York, and I was there for about nine months.

I don't have a television, and I'm just not too up on television.