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.

Playwriting is the last great bastion of the individual writer. It's exciting precisely because it's where the money isn't. Money goes to safety, to consensus. It's not individualism.

Some people make movies for money or glory and will take any subject people offer them. But I cannot do that. I need to feel the story and make it mine.

Most Republicans and the business community extol the virtues of trade, depicting it as an engine of economic progress, while most Democrats and unions attack the exportation of American jobs, claiming that trade agreements are destroying our economy.

I have mixed feelings about those sorts of things. When I see it done by interesting young people, I think it's very valid. But when established photographers, people in their forties, copy me and get a lot of money, well, I find that to be very stupid.

When my people are dying, that's when you gonna catch me protesting. I'm not gonna protest because somebody got offered not the amount of money they wanted to get offered. If you don't like what they're offering you, just no longer do business with them.