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.'

I took a trip in 2004, a year after the war started in Iraq. I played music on the streets of Baghdad for Iraqi civilians. I'd also play for U.S. soldiers at night when they were off duty in the bars. Then I would talk to people, and I would film them and ask them about their life and the conflict.

My birth mom has certainly not lived a life of means in any stretch of the imagination, nor does she want to.

Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp. What works in one doesn't work in the other, and you have to be looking for the truth of the performance, whatever way that medium might demand.

The writer knows his own worth, and to be overvalued can confuse and destroy him as an artist.