I do write about people who are complex and are striving with something and can't quite get past their own stuff, which would be a proxy for myself because that's what the deal is with me.

For a long time, my shows were about people walking out or about getting my gigs canceled or having the presenter not wanting to pay me.

Well, the real Eric Bogosian is pretty self-conscious of himself.

Ensemble is hard to do. It's like 3-D chess.

If you say city to people, people have no problem thinking of the city as rife with problematic, screwed-up people, but if you say suburbs - and I'm not the first person to say this, it's been said over and over again in literature - there's a sense of normalcy.

I don't know anybody who does what I do. I'm very underground.

I know that I'm inadequate, but I never thought that at seventeen. I thought I was doing the best I could. I thought I was being idealistic.

I love playing other people's work. I love acting.

If we all knew we were going to live to be 150 years old, we'd all approach our lives very differently.

I started acting when I was in high school, started writing when I got to New York in 1975.

I write for an audience that likes what I like, reads what I read, thinks about the things I think about. In many ways, this puts me in opposition to the people who go to the theater generally.

I write, but I also act.

I'm not a light-hearted person, so I can't think light-hearted at work.