If you have value as an artist it's probably going to be in your capacity to let things inside you get past things that are placed there to keep you from telling the truth. The more you see things as clearly and coldly as you can, the more value you're going to have.

Who knows better than artists how much ugliness there is on the way to beauty, how many ghastly, mortifying missteps, how many days of granitic blockheadedness and dismaying ineptitude there is on the way to accomplishment, how partial all accomplishment is, how incomplete?

There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.

My back went out and I gained 40 pounds while sweating over 'Perestroika.' It was incredibly hard, the hardest thing I had to do before the screenplay to 'Lincoln.'

Early in my career, having many visible tattoos created obstacles and presented quite a challenge to move forward. I've heard comments like, 'actors don't have tattoos.' The notion of typecasting was a reoccurring theme despite my passion toward creativity and personal expression.

I have been afraid all my life that I am going to die. All my life it has been stuffed in my imagination.

One way we can enliven the imagination is to push it toward the illogical. We're not scientists. We don't always have to make the logical, reasonable leap.

Writing music on your own makes you think a lot about your life. Who are you? Would you change anything about yourself? This is where it comes from.