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As a writer, all you want to do is write for great actors. That's all.

There's nothing like working with the best actors possible, and if you have a piece of material like, 'Long Way Down' or 'Love Punch,' which allows you to play, then it's just a joy to go to work.

I don't like waiting around for work, and sometimes as an actor you're forced into that position, so that's sort of how I got into writing, producing and directing.

To have a part that is written for you certainly helps an actor.

When you see something that is well-written, the actors can get behind it.

I try to write fun - though difficult and challenging - things for actors to do, because I know if they're having fun, they're going to give it everything they got.

The real joy is in constructing a sentence. But I see myself as an actor first because writing is what you do when you are ready and acting is what you do when someone else is ready.

My generation of playwrights have grown up writing for studio theatres, and so the task of writing for more than ten or so actors is a huge challenge. Logistically, it's like doing an enormous Sudoku. Making sure everyone is in the right place at the right time in the right order instantly sends me into a cold sweat.

I have a great job writing for 'The Office,' but, really, all television writers do is dream of one day writing movies. I'll put it this way: At the Oscars the most famous person in the room is, like, Angelina Jolie. At the Emmys the huge exciting celebrity is Bethenny Frankel. You get what I mean.

You work really hard to make it, and maybe you get some acclaim, but then you realize there are certain limitations as an actor.