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.

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.

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.

Imagine: I got patent rights to the only machine in the world to make low-cost sanitary napkins - a hot-cake product. Anyone with an MBA would immediately accumulate the maximum money. But I did not want to. Why? Because from childhood, I know no human being died because of poverty - everything happens because of ignorance.

Good nature is worth more than knowledge, more than money, more than honor, to the persons who possess it.

I hope all of you are going to fill out your census form when it comes in the mail next month. If you don't return the form the area you live in might get less government money and you wouldn't want that to happen, would you.

I want to figure out a way to not be stupid with money, then make a whole bunch of it, then I want to move to Outer Mongolia. I want to milk a yak. Maybe I'll just settle for a cow.