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Your mind just goes to the craziest idea to lure people into the theater, and then you write your script around those elements.

I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.

With young people, it's how brassy and flashy can you be. But you get a bit older, it's about how restrained can you be. You have to feel it all, think it all, but you don't have to play it - it's just gotta be there, and if the story's good and the script's good, people will see it.

I'd always envied actors who got to play real people or got to do research. I've always just had these scripts where, I mean not in a bad way, but it was right on the page.

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 think it goes without saying that young would-be playwrights in developmental workshops should be so lucky as to write plays as good as 'Waiting for Godot,' 'Uncle Vanya' or 'King Lear,' none of which would have existed without a decent plot.

There are so many remarkable playwrights working right now, that I see everything I can. Annie Baker is a genius, I'll see anything she writes. The same for Lynn Nottage, Cynthia Hopkins, and Lisa D'Amour. Anything they've got going on, I'll go see.

You know, most good playwrights write seven good plays and then something happens and after that they're crap.

I think it's sad that movies and television have caused the theatre to fade as a popular art form. I hope to get young people into the theatre and expose them to Shakespeare.