I'm proud of doing 'Long Day's Journey into Night,' for which I won an ACE award.
A stage play ought to be the point of intersection between the visible and invisible worlds, or, in other words, the display, the manifestation of the hidden.
[The play] is like to be a very conceited scurvy one, in plain English.
I called Scott Rudin, and I told him I wanted to do the play [Fences], so that's how the ball got rolling. I never said, "I'll do the play, and the next year I'll do the film, I just wanted to do the play."
'Bodies' remains the drama I'm most proud of.
Now that you've got me right down to it, the only thing I didn't like about The Barrets of Wimplole Street was the play.
I am not interested in living in a city where there isn't a production by Samuel Beckett running.
As a fairly objective judgment, I do think that my plays as they come out are better than most other things that are put on the same year. But that doesn't make them very good necessarily.
I would like to direct. What goes on behind stage is very interesting.
I'm not responsible for the commercialization. The people who produce the plays are responsible for it.
A play that works well and is done quite a lot - I've never done the math - but it's probably more remunerative than a movie.
