I knew I had to get out of Boston and stop making movies there, at least for one movie, otherwise no one would ever consider me for a movie that took place south of Providence.

I've never held myself up particularly high when I had movies that worked, and I never held myself all that low when I had failures.

You don't go to the movies to do historical research, unless it's historical research about the movies.

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.

As much as I hate his movies, Oliver Stone has an aspiration I admire, and that is that he wants his art to be part of what makes and changes public policy and cultural practice.

I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.

I just love movies, so suddenly, you're political about movies, and that's dark. It's just not fun when something you love becomes calculated.

I always, always meant to be on stage. I only ended up even auditioning for television and movies because I was understudying a Turgenev play on Broadway and was so broke that, when I got a mini-series, I had to take it and was so ashamed because I was such a snob.

On radio and television, magazines and the movies, you can't tell what you're going to get. When you look at the comic page, you can usually depend on something acceptable by the entire family.

I really care about this stuff, I care about movies, and you just have to be strong and don't be stupid freedom of choice is a big responsibility, and I'm lucky enough not to have to just take any movie to pay the rent, so there's no need to be greedy.