Tragedy, for me, is not a conflict between right and wrong, but between two different kinds of right.

I discover what I mean as I write. That can be both terrifically exciting and very dangerous, because when you look at your words later, you wonder, 'Did I really mean that, or am I just making verbal patterns?'

I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.

I made, over the years in Cambridge, several very good American friends, and America appeared to me, a land of promise in every sense of that word, a land of freedom from the inhibitions and restrictions that I felt in England.

War has traditionally been a man's work, although we know that often women were the cause of violence.

During the Gulf War, I remember two little third grade girls saying to me - after I read them some poems by writers in Iraq - 'You know, we never thought about there being children in Iraq before.' And I thought, 'Well those poems did their job, because now they'll think about everything a little bit differently.'

War on Everyone,' I think... the script was hilarious to me, but it's very dark, dark humor. It's super dark.

Anyone who spends time on the road knows there's something special about being in the middle of Utah or Nebraska - you sit with it, and there's a peace about it. You can go left or right, and it opens up all kinds of doors. You take your own path.