I'm still very much a believer in the spontaneity of certain kinds of writing. But then you have to eventually, when you're writing a long play, make adjustments along the way - all kinds of adjustments.

I'm a great believer in chaos. I don't believe that you start with a formula and then you fulfill the formula. Chaos is a much better instigator, because we live in chaos - we don't live in a rigorous form.

There is this aura that the three-act play is the important one: it's the one that you do to win the Pulitzer. Some part of you falls for that, and then after a while, you don't fall for that.

What I'm after is something different than supplying people with the idea that I'm writing an important play.

There are places where writing is acting and acting is writing. I'm not so interested in the divisions. I'm interested in the way things cross over.

You can't make a living as a playwright. You can barely scrape by.