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 want it to be said when I leave this world that 'he was not just a money-making machine.'

With the attention I got on my wealth, I thought I would have become a source of resentment, but it is just the other way around - it just generates that much more ambition in many people.

But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder.

I believe that the financial crisis of 2008/9 exposed more a lack of ethics and morality - especially by the financial sector - rather than a problem of regulation or criminality. There were, of course, regulatory lessons to be learned, but at heart, there was a collective loss of our moral compass.