There are people a lot smarter than me investigating nature versus nurture who would have a lot to say about that, but I think it's an enormous privilege to be born into a family where my parents had enough time to read to me and listen to my stories and foster my imagination. It's a privilege to have time to investigate your imagination. And not to have, like, an amount of stress on you as a kid that prevents you from maturing creatively.

I was a vegetarian for a really long time, from 7 to 23, so I feel like some things aren't that weird but they seem weird to me, like blood sausage or snails. Those are things I've eaten now that, years ago, it would have been totally improbable that I would have eaten.

Nothing's going to come to you by sitting around and waiting for it.

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!

And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, 'Hmm, there's half a page that's good here.' Then you throw out everything else.

I think, a lot of times, directors assume that whatever they get from you the first time, whether it be at an audition or on set, is all that you can bring.

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.