I dont want to work on a musical if Im not the lyricist.

From a young age, I was rubbing elbows with a very different kind of person and social class, and I felt a lot of tension and conflict in my identity because of that.

I've been pretty well treated by the critics, but the critics who didn't like my comedies hated them with an unbridled passion, and then I would see these same people writing very respectfully about ordinary naturalistic plays.

We have this myth that if you work hard, you can accomplish anything. It's not a very American thing to say, but I don't think that's true. It's true for a lot of people, but you need other things to succeed. You need luck, you need opportunity, and you need the life skills to recognize what an opportunity is.

The Pulitzer has nothing to do with me it's more about people's perceptions of me, whatever they may be. I'm not being humble - I honestly do not and cannot think about that. It's a lovely piece of crystal on my bookcase, but that's all it is to me.

I didn't go into 'Rabbit Hole' wanting to write about class. I think because of who I am it somehow found its way into it.

Only assholes write plays about Nazis.

My plays tend to be peopled with outsiders in search of clarity.

Class is something I know about. I've lived it every day of my life, and it shaped me in my identity.

I'm just writing about people. People are dark and complicated. I'm trying to tell the truth that's all that I do.

So even the most unlikely events have to take place somewhere.

My plays tend to be peopled with outsiders in search of clarity.

I'm going to do whatever interests me. Look, writing 'Rabbit Hole' came out of an interest in diversifying my portfolio, frankly.