I can be affectionate about a lot of things without watching them.
I like trying to create a spark through a collaboration between me and the audience.
Childhood is Last Chance Gulch for happiness. After that, you know too much.
I consider myself to be a very fortunate person and to have led a very fortunate life.
You are the plays you write. How on earth could you write them otherwise? They're projections of your own predilections.
In the period before the arrival of Mrs. Thatcher, politics had been in such low esteem. Everything was so hedged, so mealy-mouthed. Then along came this woman who seemed to have no manners at all and said exactly what she thought. Everyone's eyes were popping and their jaws were dropping, and I really enjoyed that.
Chekhov directors and Chekhov actors love working on his plays because there seems to be no end to what you can find out about the micro-narrative when you're investigating a text.
What is the society we wish to protect? Is it the society of complete surveillance for the commonwealth? Is this the wealth we seek to have in common - optimal security at the cost of maximal surveillance?
In the end, my children put me on to Pink Floyd when they were teenagers.
I actually went to an Oasis concert. I thought they were a brilliant songwriting band.
I have about a dozen cassettes lying about which I use in random order. Very often, I pick up a cassette to dictate a letter, and I find my voice coming back at me with the lines of plays three years old.
I'm good at being funny.
It takes a lot of effort to be vibrant.
Success is a sort of metaphysical experience. I live exactly as I did before - only on a slightly bigger scale. Naturally, I won't be corrupted. I'll sit there in my Rolls, uncorrupted, and tell my chauffeur, uncorruptedly, where to go.
When I was a reporter in Bristol, which I was between the years 1954 and 1960, the newspaper would get tickets for whoever showed up to play a gig at the big hall down the road, so I saw some wonderful people. The Everly Brothers, for example.
Theatre is a series of insurmountable obstacles on the road to imminent disaster.
I like pop music. I consider rock 'n' roll to be a branch of pop music.
When I was in my teens, I was very, very keen on being the author of a book. What the book was was secondary. I wanted it to be in hardback. I didn't care how thick or thin it was, and I didn't actually care what it was about.
The days of the digital watch are numbered.
I don't draw on my inner life in my work.
Other people's lives come at us without a backstory most of the time. The present is like that.
There are certain sorts of jokes which have only to do with the substitution of the unexpected word in a familiar context. If you translated something into French and then had it translated back into English by somebody who didn't know the original, you'd lose what was funny.
When Auden said his poetry didn't save one Jew from the gas chamber, he'd said it all.
Rewriting isn't just about dialogue; it's the order of the scenes, how you finish a scene, how you get into a scene.
It was a different planet in 1967, the Broadway theatre. It had a little ashtray clamped to the back of every seat and the author got 10% of the gross.
What Tolstoy is on about is that carnal love is not a good idea.
My life feels, week to week, incomplete to the level of being pointless if I am not in preparation for the next play or, ideally, into it.
People have quite a simple idea about 'Anna Karenina.' They feel that the novel is entirely about a young married woman who falls in love with a cavalry officer and leaves her husband after much agony, and pays the price for that.
As a playwright, you can cover a lot of waterfront without being able to hold your own against an expert in any of those areas. I have no illusions about that.
The idea of the state is, or should be, a very limited, prescribed idea. The state looks after the defense of the realm, and other matters - raising revenue to pay for things which are for all of us, and so on. That idea has turned turtle now. The state isn't any longer perceived as an institution which exists to serve us.
The thing about talking about human rights is that when one bears in mind the sharp end of it, one does not want to worry too much about semantics.
The notion that the 'leader' has the right to ask huge sacrifices of your generation for a notional future paradise - if you'd be good enough to lie down under the wheels of the juggernaut - that sentimental and self-aggrandising rationalisation for brute force and cowardice I felt from adolescence was wrong.
One of the attractions of translating 'Heroes' is that it's not the kind of play that I write. If it had been, I probably wouldn't have wanted to translate it. There are no one-liners. It's much more a truthful comedy than a play of dazzling wit.