I feel there's a power in theatre, but it's an indirect power. It's like the relationship of the sleeper to the unconscious. You discover things you can't afford to countenance in waking life. You can forget them, remember them a day later or not have any idea what they are about.
But I still read Shaw on a regular basis. What I love is the nakedness of the polemic and the irresistible good humour. For me, 'Major Barbara' is the greatest of all the plays in that it starts from the rational and proceeds to the ecstatic in a spectacular way, and leaves you very confused if you cling to Euclidean logic.
Who knows better than artists how much ugliness there is on the way to beauty, how many ghastly, mortifying missteps, how many days of granitic blockheadedness and dismaying ineptitude there is on the way to accomplishment, how partial all accomplishment is, how incomplete?
I find writing very difficult. It's hard and it hurts sometimes, and it's scary because of the fear of failure and the very unpleasant feeling that you may have reached the limit of your abilities.
There's a way in which 'The Illusion' is a play about the theater.
Accuracy is paramount in every detail of a work of history. Here's my rule: Ask yourself, 'Did this thing happen?' If the answer is yes, then it's historical. Then ask, 'Did this thing happen precisely this way?' If the answer is yes, then it's history; if the answer is no, not precisely this way, then it's historical drama.
I work best after the deadline has passed, when I'm in a panic.
The way you give love is the most profoundly human part of you. When people say it's ugly or a perversion or an abomination, they're attacking the center of your being.
As a playwright, you are a torturer of actors and of the audience as well. You inflict things on people.
Artists know that diligence counts as much, if not more, as inspiration; in art, as in politics, patience counts as much as revolution.
I tend to be sort of quiet and shy and awkward in social situations.
I had a dream, in 1985, I believe, when a friend I'd gone to school with was sick - one of the first people I knew who'd gotten the AIDS virus. I had a dream of him in his bedroom with an angel crashing through the ceiling. I wrote a poem called 'Angels in America.' I've never looked at the poem since the day I wrote it.
If you have value as an artist it's probably going to be in your capacity to let things inside you get past things that are placed there to keep you from telling the truth. The more you see things as clearly and coldly as you can, the more value you're going to have.
Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.
You have a strange relationship with calamity when you're a writer: you write about it; as an artist, you objectify and fetishize it. You render life into material, and that's a creepy thing to do.
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