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.

There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.

The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.

In a way, film and television are in the same sort of traumatic trance that print journalism is. The technology has outpaced our comprehension of its implications.

People shouldn't trust artists and they shouldn't trust art. Part of the fun of art is that it invites you to interpret it.