The main question in drama, the way I was taught, is always, 'What does the protagonist want?' That's what drama is. It comes down to that. It's not about theme, it's not about ideas, it's not about setting, but what the protagonist wants.
My dad was a labour lawyer, and the ideas that I grew up with - bad management, bad capitalism, robber barons - when I applied this to my own life, I saw that we are all on both sides of the coin.
Every reiteration of the idea that nothing matters debases the human spirit.
When we leave the play saying how spectacular the sets or costumes were, or how interesting the ideas, it means we had a bad time.
My idea of perfect happiness is a healthy family, peace between nations, and all the critics die.
What we're trying to do is find two or more shots the juxtaposition of which will give us the idea.
Being a writer in Hollywood is like going to Hitler's Eagle Nest with a great idea for a bar mitzvah.