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 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 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.

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

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

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

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

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

I write, but I also act.

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.