We do not kill the drama, we do not really limit its appeal by failing to encourage the best in it; but we do thereby foster the weakest and poorest elements.

In all the great periods of the drama perfect freedom of choice and subject, perfect freedom of individual treatment, and an audience eager to give itself to sympathetic listening, even if instruction be involved, have brought the great results.

Out of the past come the standards for judging the present; standards in turn to be shaped by the practice of present-day dramatists into broader standards for the next generation.

The drama is a great revealer of life.

I feel like I work on scripts for comedy as well as dramatic stuff the same.

I'm not going to give up the shock part of my comedy.

You know Seth and Evan, they were lead writers for 'Pineapple Express', and they are great at mixing things up. Taking different genres and mish-mashing them up to create something dynamically new. They'll throw comedy at you, but with a dash of horror and fright that is supposed to make you shocked and scared.

I had enough therapy to know when I broke it down, it became clearer to me: Yes, comedy was kind of a cleansing thing for me to do.