I think I'm a very lazy writer and by that I mean that I do not battle, I don't struggle too hard against it. If I have difficulties in the writing, I just go and do other things. I don't feel a compulsion to write.

Colonialism bred an innate arrogance, but when you undertake that sort of imperial adventure, that arrogance gives way to a feeling of accommodativeness. You take pride in your openness.

With theatre, you can interpret the most complex play on stage for it have meaning to an audience because you're dealing in images, you're dealing in action, you can use different idioms to interpret and clarify something which is obscured in the reading and of course there are different kinds of play, there are mythological plays, there are what I call the dramatic sketches, direct political theatre which is virtually everybody, but I find that you can use the stage as a social vehicle, you know, which any kind of audience.

Even when I'm writing plays I enjoy having company and mentally I think of that company as the company I'm writing for.

The gods in Yoruba mythology are not remote at all. They're benign, they're malign, they are mischievous, like Eshu for instance, tricksters, rascally, fornicators, that's a similarity to Greek mythology, for instance, you know. They're not saints, they're not saints. They're powerful. It's why they're not tyrannical. Of course, a number of them are also very, you know, benevolent, you know, there are saintly virtues to be found in them.

Books and all forms of writing are terror to those who wish to suppress the truth.

My interest in culture generally is a comparative one, and I think that's where the word joy, I think, can be applicable. There's joy in actually seeing the relatedness, the connectedness of different cultures or recognising, for instance, your own culture in another or another culture in your own culture and feeling an air to all of them.