I never know who's influencing me at any time. I mean, I can take a play by Brecht and adapt it, I'm consciously adapting that play, or, as I've done with the Greek classics, Euripides and Oedipus, and I'm consciously adapting that play. Whether it influences me or not, I think it's the critics, the analysts who have to decide that. Me, I don't feel that I'm under the influence of any such sources.

When I was a child, for a public/civil servant to be caught in corrupt practices, that individual will be a pariah. He will be a complete reject of the society; he/she could not raise his or her voice to speak in the public. So what happened between that time and now? That time when a public officer, prison or customs officer caught in corruption hides his face in shame amongst his peers, he just couldn't come out publicly. Today, when they come back, they get chieftaincy titles, they are received in grand style, cows are killed, they ride on white horses.

If I were sure I would pass the physicals, I would be on the next space shuttle to Mars or some other planet. I'll leave the calculations and the navigational tasks to you while I bask in your ingenuity. Find me a place in the capsule and watch me outdo Michael Jackson's moonwalk to the music of the spheres.

I think most writers would like a quiet space, complete isolation, in which they control their own time. Spaces of creativity in which there's very little interruption.

When you fight corruption, corruption strikes back and that is the truth because when you fight corruption, you get confidence and when it gets to impunity, then it gets aggressive and says, 'oh, so you think you are different? You think you are tough and different?' This is why some of us are almost permanently in the libel court.

The media owes the responsibility to constantly tell the public the truth.

But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.