The Miracle Worker' is just such an incredibly powerful play on stage, and is so kinetic, and athletic.

Back when you were doing plays like 'The Miracle Worker,' you had 20, 25 people in the cast. When you go to make the film, that's not such a stretch. But when you're doing plays like 'Proof,' it's just five people or something in the thing, and it gets to be a really difficult re-conception.

I've been writing plays since the seventies and only came to moviemaking when I basically realized that I needed some money to pay the rent. I started to watch films with an eye to figuring out how to write them.

You have to live in order to have something to write about - you get caught up in moviemaking and celebrities and money, and it's very intoxicating, but it doesn't give you what you need as a writer. You have to do something else for that.

Meanwhile, people have to join us and fight back against the federal government that has dropped the ball, that is in bed with these energy companies, that wants them to make more money than they've made before.

As a developer, it's a great feeling knowing you have made an impact. There's also a lot of responsibility that goes with that: you have to really put the city's needs first. It's not all about making money.

Our view is that consumer finance - what people think of as retail finance - that arena is ripe for disruption. Bitcoin is absolutely a core platform and asset format that we are dependent on to build this business.

The first time I had money, I was extravagant, but then you realise it's not just about that. If I lost it all tomorrow, it wouldn't be me that's hurt, it would be my babies. It would be more about people's opinion of me that would concern me.