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

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 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.

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

I write, but I also act.

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

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

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

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.

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.

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.