The possibilities are infinite with new writing; every time you open a new script, there's no limit to what it might contain.
Time is short, life is short, there's a lot to know. So I skip the entertainers in the newspaper now. I just haven't got time.
My father was a doctor in Moravia, in the south of the country. There were a number of Jewish doctors in the hospital there, and at a certain point - almost too late, really, but in time - they were all sent overseas by their employer.
My family was in Singapore when the Japanese War started. We were in Singapore at the time of Pearl Harbor, and by the beginning of 1942, the Japanese invasion of Burma and Singapore had started.
One of the reasons why there are so many versions of Chekhov is that translations date in a way that the original doesn't; translations seem to be of their time.
You can't go around chasing your own plays and showing up every time somebody does one somewhere. You just cross your fingers and hope that they're OK.
Other people's lives come at us without a backstory most of the time. The present is like that.
You should not translate for more than two hours at a time. After that, you lose your edge, the language becomes clumsy, rigid.
Theatre probably originated without texts, but by the time we get to the classical Greek period, theatre has become text-based.
If I am on a journey where I only have time to read one-and-a-half books, I never know which one-and-a-half I'll feel like reading. So I bring eight.
We've traveled too far, and our momentum has taken over; we move idly towards eternity, without possibility of reprieve or hope of explanation.
The days of the digital watch are numbered.
Eternity's a terrible thought. I mean, where's it all going to end?