Tragedy, for me, is not a conflict between right and wrong, but between two different kinds of right.

I discover what I mean as I write. That can be both terrifically exciting and very dangerous, because when you look at your words later, you wonder, 'Did I really mean that, or am I just making verbal patterns?'

I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.

I made, over the years in Cambridge, several very good American friends, and America appeared to me, a land of promise in every sense of that word, a land of freedom from the inhibitions and restrictions that I felt in England.