I find the whole situation of confronting an audience terrifying.
It's my private life, and it's not up for grabs.
Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.
I had two experiences with very close friends of mine who experienced aphasia, the loss of language. It shocked me.
It's really great to see an actor find himself, in his sojourn.
I know, as an actor, you have to negotiate, but I can't handle the whole idea that art and commerce are synonymous. It drives me nuts.
I'm inhabiting a life I'm not supposed to be in... and at certain times in my life, I have felt a wrongness. And not a moral wrongness but a sense that this isn't what I was born to be doing.
I'm not put off so much by first-time directors if the script is great. If the script isn't there, I'm not there.
My son, Walker, has a band called The Dust Busters. You know, he plays banjo, fiddle, guitar, and mandolin, so a lot of my interest in that kind of music comes from him constantly listening to this stuff. He's taught me the history of it. It's remarkable how these young kids are now turned on to more traditional old-time music.
When I first started, I didn't really know how to structure a play.
With acting, you can find a way to make it interesting for yourself, if nobody else - even on big-budget films. But you're very much on your own.
Hollywood is geared toward teenage idiocy.
When I just sit around my house and work, I can work two, three hours, and then I go off and ride a horse or do something that I perceive to be a lot more fun.
When you're 19 and writing plays, you think every actor is full of it. They just can't handle your brilliant material.
I was shot in the wrist when I was a kid. Deliberately.
I guess what I like is mostly country & western or else stuff that has a real blues feel to it.
I'm not denying that it's exciting to have a play on Broadway.
What I'm after is something different than supplying people with the idea that I'm writing an important play.
All good writing comes out of aloneness.
I still find it hard to believe that the whole era of jazz is over.
I remember, as a kid, going into other people's houses. Everything was different. The smells in the kitchen were different; the clothing was different. That bothered me. There's something very mysterious about other families and the way they function.
The words I overuse are all adverbs.
People are starved for a way of life - they're hunting for a way to be or to act toward the world.
I never considered myself a movie star, and I didn't want to become a movie star, because as soon as you do, you throw away that possibility of playing character. You really do. All of a sudden you're just an entity, you know?
If you start trying to figure out yourself from the image everyone has of you, you run into a dead end.
I think a part of the reason that those early plays were short was that I just kept having these ideas, and I'd just go off and write them. I wasn't trying to write one-act plays - it's just how the ideas would be expressed. Every condition I was in seemed like it could be a play.
I feel like I'm a natural-born playwright, but the prose thing has always mystified me. How to keep it going? How do people do it, for years and years?
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 stay away from heavy-handed stuff, the good guy and the bad guy. It just doesn't interest me; all it does is create more fences between people, I think.
I keep my horses out in the open, but when I was working the ranches, I had to clean the stalls. It was a horrible job.
I'm not in demand. I'm all washed up.
Hats look exactly the same. There's no difference between The Writing Hat and The Acting Hat.
I wrote 'Buried Child' in a trailer at an old ranch house we had in California.
Film is anti-language.
I think most writers, in a sense, have this desire to disappear, to be absolutely anonymous, to be removed in some way: that comes out of the need to be a writer.
It's one of the great tragedies of our contemporary life in America, that families fall apart. Almost everybody has that in common.