There is a kind of perverse unity forming among us, born, I think, of the discontent of all classes of people with the endless frustration of life.

I think now that the great thing is not so much the formulation of an answer for myself, for the theatre, or the play - but rather the most accurate possible statement of the problem.

I think it's a mistake to ever look for hope outside of one's self.

Success, instead of giving freedom of choice, becomes a way of life. There's no country I've been to where people, when you come into a room and sit down with them, so often ask you, "What do you do?" And, being American, many's the time I've almost asked that question, then realized it's good for my soul not to know. For a while! Just to let the evening wear on and see what I think of this person without knowing what he does and how successful he is, or what a failure. We're ranking everybody every minute of the day.

I think the tragic feeling is invoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing -- his sense of personal dignity.

. . . usually, the biggest problems of adapting plays into screenplays is that they stick too close to the play, and I think film is a completely different medium. I think a novel is much closer to a film . . ..