My Greatest Fear Is That The Audience

I Don't Think There's Any Information To Be Gotten From Television.

People Only Speak To Get Something. If I Say, Let Me Tell You A Few Things About Myself, Already Your Defenses Go Up; You Go, Look, I Wonder What He Wants From Me, Because No One Ever Speaks Except To Obtain An Objective. That's The Only Reason Anyone Ever Opens Their Mouth, Onstage Or Offstage. They May Use A Language That Seems Revealing, But If So, It's Just Coincidence, Because What They're Trying To Do Is Accomplish An Objective.

In Playwriting, You've Got To Be Able To Write Dialogue. And If You Write Enough Of It And Let It Flow Enough, You'll Probably Come Across Something That Will Give You A Key As To Structure. I Think The Process Of Writing A Play Is Working Back And Forth Between The Moment And The Whole. The Moment And The Whole, The Fluidity Of The Dialogue And The Necessity Of A Strict Construction. Letting One Predominate For A While And Coming Back And Fixing It So That Eventually What You Do, Like A Pastry Chef, Is Frost Your Mistakes, If You Can.

Every Scene Should Be Able To Answer Three Questions: "who Wants What From Whom? What Happens If They Don't Get It? Why Now?"

Being A Writer In Hollywood Is Like Going To Hitler's Eagle Nest With A Great Idea For A Bar Mitzvah.