When you're driving into D.C. as a young kid and you go over the Key Bridge and see the Lincoln Memorial, Washington Monument, and Capitol Building, they become a part of the landscape for you. You are also constantly in contact with this idea that history, and the people that made it, are being remembered.

I go to each job and open my little briefcase up, and I take out the things that I have or I know. It might be a Swiss army knife, a quart of milk and a ruler. That might be all I can bring to it, but that's what I have.

My job is the same if I'm making a new musical or making a play for sixty-five people or doing a live television broadcast. The job is to take care of the actor; the job is to create an environment where they can excel and try to access all their attributes.

As a kid, I wanted to be a sportscaster. On the radio. I loved the idea of painting a picture. I didn't want to be on TV. I wanted to be Jon Miller, who called all the Orioles games.

You can be creative in anything - in math, science, engineering, philosophy - as much as you can in music or in painting or in dance.

I am a very big fan of Brian Eno, of his work as an artist and making his music, and as a producer. In some ways, I have looked to his career as a model for my own.

Initially, I wanted to be a writer for other people. 'Hereditary,' I was writing it from a woman's perspective.

When I lived in New York, not only did I have safety locks on the door but I had the music going, keeping the city at a distance, trying to find creative time and peace and so forth.