My grandfather Frank Lloyd Wright wore a red sash on his wedding night. That is glamour!

I was a writer. I just wasn't a very good one. I was lucky enough to have a playwriting teacher who told me that I'd be a better actor than I would a playwright.

When the modern movement began, starting perhaps with the paintings of Manet and the poetry of Baudelaire and Rimbaud, what distinguished the modern movement was the enormous honesty that writers, painters and playwrights displayed about themselves. The bourgeois novel flinches from such notions.

Our stories come from our lives and from the playwright's pen, the mind of the actor, the roles we create, the artistry of life itself and the quest for peace.

We are ever on the threshold of new journeys and new discoveries. Can you imagine the excitement of the Wright brothers on the morning of that first flight? The anticipation of Jonas Salk as he analyzed the data that demonstrated a way to prevent polio?

I don't think Othello is a jealous man - he is a man who has been deceived by another person, just as everybody in the play is deceived by that person... The playwright uses the word 'jealousy' over and over and over again, but I don't think it has anything to do with being jealous.

The Wright brothers flew right through the smoke screen of impossibility.

Athol Fugard became famous as a playwright, so although 'Tsotsi' the book was written in the '60s, it was only published in the '80s. It was then optioned pretty much every year by producers. I think the problem was that holding onto its period setting made it very hard to get finance.

There are hundreds of Frank Lloyd Wright buildings around the United States and in other countries, too. Wright lived into his 90s, and one of his most famous buildings, the Guggenheim Museum in New York, was completed just before his death. Wright buildings look like Wright buildings - that is their paradox.

The heart of the theater is the play itself, how it dramatizes life to make it meaningful entertainment. To achieve depth and universality, the playwright must subject himself to intense critique, to know human character and behavior, and finally to construct art from the most mundane of human experience.

I became frustrated early on as a playwright by a kind of smug smallness in modern drama. There was a lack of what I now understand as courage in the work of others as well as in my own work, and I found I was mildly amused or interested by such plays but not deeply engaged or enlightened.

Successful technologies often begin as hobbies. Jacques Cousteau invented scuba diving because he enjoyed exploring caves. The Wright brothers invented flying as a relief from the monotony of their normal business of selling and repairing bicycles.

I am alone this evening, and I am alone because of a cruel twist of fate, a phrase which here means that nothing has happened the way I thought it would. Once I was a content man, with a comfortable home, a successful career, a person I loved very much, and an extremely reliable typewriter, but all of those things have been taken away from me, and now the only trace I have of those happy days is the tattoo on my left ankle. As I sit in this very tiny room, printing these words with a very large pencil, I feel as if my whole life has been nothing but a dismal play, presented just for someone else's amusement, and that the playwright who invented my cruel twist of fate is somewhere far above me, laughing and laughing at his creation.

But the fact that some geniuses were laughed at does not imply that all who are laughed at are geniuses. They laughed at Columbus, they laughed at Fulton, they laughed at the Wright brothers. But they also laughed at Bozo the Clown.

My grandfather Frank Lloyd Wright wore a red sash on his wedding night. That is glamour!

I was a writer. I just wasn't a very good one. I was lucky enough to have a playwriting teacher who told me that I'd be a better actor than I would a playwright.

Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers novelists playwrights painters have been examining for a long time.

In the 18th century James Hargreaves invented the Spinning Jenny and Richard Arkwright pioneered the water-propelled spinning frame which led to the mass production of cotton. This was truly revolutionary. The cotton manufacturers created a whole new class of people - the urban proletariat. The structure of society itself would never be the same.

You have to have hope. It's irresponsible to give false hope which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist which quite a lot of playwrights especially playwrights younger than me have become guilty of.

I'm happy that I feel a little less out of place in filmmaking than I once was - but it's almost impossible for a playwright in the U.S. to make a living. You can have a play like I did with 'Angels ' and it still generates income for me but it's not enough for me to live on and have health insurance.

The comedians I liked were Bill Cosby and Steven Wright like just always as a comedic actor. I always liked Gary Larson who's really funny for a cartoonist obviously.

There are hundreds of Frank Lloyd Wright buildings around the United States and in other countries too. Wright lived into his 90s and one of his most famous buildings the Guggenheim Museum in New York was completed just before his death. Wright buildings look like Wright buildings - that is their paradox.