When you write, it's making a certain kind of music in your head. There's a rhythm to it, a pulse, and on the whole, I'm writing to that drum rather than the psychological process.
My life is sectioned off into hot flushes, pursuits of this or that.
I'm very unhappy about my entire life if my writing is going wrong.
It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
When I was younger, I could do something useful just by being free for half a day, but now I need five days to get the world I've left out of my head and ten days or a fortnight not talking to anyone to hold what I need to hold inside my head.
I feel that when I began writing, I had a need to know more about the play before I got into it. I think that's the way I was thinking. But my actual experience is that the best way to find out what the structure is, is by writing the play out laterally. You just have got to be brave enough to start without knowing where you are going.
You end up going to school plays quite a bit as a parent, there are a lot of kids who are doing the job as well as they can, but there's always one or two who seem much more at home in the world of impersonation.
If you associate enough with older people who do enjoy their lives, who are not stored away in any golden ghettos, you will gain a sense of continuity and of the possibility for a full life.
A free press needs to be a respected press.
My brain cells are dying in their trillions.
The fact is, I loved being English. I was very happy to be turned into an English schoolboy.
Responsibilities gravitate to the person who can shoulder them.
If you carry your childhood with you, you never become older.
Very often in Chekhov, where he exhibits a little bit of human behavior that you recognize as true, you give a little laugh. It's like a reflex.
If you don't know what is being said, the rest of the actor's work is wasted.
I'm vaguely embarrassed by myself sometimes.
We give advice by the bucket, but take it by the grain.
My work always tried to unite the true with the beautiful; but when I had to choose one or the other, I usually chose the beautiful.
I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.
I am not a mathematician, but I was aware that for centuries, mathematics was considered the queen of the sciences because it claimed certainty. It was grounded on some fundamental certainties - axioms - that led to others.
I always loved rock 'n' roll.
Quite early on, and certainly since I started writing, I found that philosophical questions occupied me more than any other kind. I hadn't really thought of them as being philosophical questions, but one rapidly comes to an understanding that philosophy's only really about two questions: 'What is true?' and 'What is good?'
Chekhov was capable of casually tossing off deplorable comments in his letters, combined with a very modern anger against anti-Semitism.
After all these years, I definitely associate having a pen in my hand with having an ashtray just out of eye line.
Honesty is seldom ingratiating and often discomfiting.
I'm hopeless at looking into myself and trying to see how things are working and why.
James Joyce - an essentially private man who wished his total indifference to public notice to be universally recognized.
There are many, many more small theater spaces than there were when I was starting out.
If Beethoven had been killed in a plane crash at the age of 22, it would have changed the history of music and of aviation.
It's so great in the theater when everyone catches up on the truth.
Theater in New York is nearer to the street. In London, you have to go deep into the building, usually, to reach the place where theater happens. On Broadway, only the fire doors separate you from the sidewalk, and you're lucky if the sound of a police car doesn't rip the envelope twice a night.
Why should I write a play? I don't have to write a play, do I? But somehow, I think that's what I'm here for, so I'd better do it.
The way 'star' used to be reserved for a small number of people, and when the star category became so vast, they came up with 'superstar,' and then they came up with 'megastar.'
I've never really worked out this thought, and I don't know if I'm really conscious of it, but I can see there's an attraction about writing about a period that's over and isn't going to change colour while you look at it.
The whole thing about writing a play is that it's all about controlling the flow of information traveling from the stage to the audience. It's a stream of information, but you've got your hand on the tap, and you control in which order the audience receives it and with what emphasis, and how you hold it all together.
I write out of my intellectual experience.