I don't feel like I have a super straightforward relationship with the idea of fame. It makes me sort of level things out in my own brain almost immediately when I meet someone.

Wildlife was the only thing we've written together with Paul Dano. It's based on a book by this author Richard Ford, who just published a memoir about his family that's really wonderful. Paul fell in love with his book, and we optioned it ourselves, and he took a first pass at writing it. He asked me for notes, and then our note session devolved into an argument really quickly.

Too often in the theatre people can't wait for intermission to get some chocolate or something. But with Come Back, Little Sheba I just hope people leave feeling like they've spent a really good two-hours in that house with us.

I just went through my childhood attic with my sister. I'm not an expert, and I don't mean to put myself in that category, but thinking about Malcolm Gladwell and the 10,000 hours, I was like, Here are my 10,000 hours!

I do not do my own taxes. It's too many forms. "Here are my 70,000 forms. I have no idea."I would be in jail.

I find playwriting really painful. I love it, or I wouldn't do it, but I don't love the theater as much as I love movies.

I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.