“I don’t like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.”

And now we have all this access to public transportation, automobiles and jets and the Internet

You want the tension to escalate. Keeping them there is the hardest part, so you have to take away any excuse for them to leave.

There’s only so much pavement that the road makers lay down. After a while, the highway quits going north and it just turns into sky.

The heart fills with warm rain that turns to mist and evaporates through a colder artery.

In Chekhov, when people leave, a carriage is taking them away forever.

Fifteen years ago I killed my sister.

Somewhere so deep inside that the doctors can’t find it with all their machines and microcameras.

It’s strange, people have asked me what my schedule is and what is my process like, and I can’t even answer it.

I think auditioning can be very reductive and I just hate how actors work really hard and most of them aren’t going to get the job, and I hate putting them through that.

The rooms I tend to be in are pretty democratic and the best idea wins.

Ice congeals in the stomach. Frost spiderwebs in the lungs.

I think there is a complicated side effect to overcoming evil in that we are forever changed by it.

I show up on time, I am very rigorous about scheduling, and I am very focused.

What I’ve learned in the last few years is that I am merely a storyteller.

I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn’t matter.

I try not to write more than two or three, I try to just write one if possible