"A lot of the stuff one does in the creative process is founded in information but we're not sure what the information is because it's interior, inside us; this is all difficult to talk about, that's why for me when I try to discuss it, I get metaphysical in my language and so forth because it is a process that's poetic; it's not the linear process of how you put a bike together, you put this piece on first and that piece on next and you get a bike. If that was the case, then we'd have all great productions for anyone that had the map to make a great production. But we don't, but that's part of the fun of it and part of the mystery of it and part of the magic of it when it happens."
"I am, and the actors will tell you, I am a bear about this. About the specificity of vernacular and idiomatic melody and tempo rhythm. It's all related to breath. Acting in theater is craft, but it's an arcane craft. Very few people know how to do it, really understand what the requirements, what the craft of theater really is. And once you understand it, it doesn't mean you're going to succeed, because it's like watching these Olympic athletes. Anyone should be able to do that, but the amount of craft, and failure that goes into the success of that is unknown to us. It's known only to the artist, only to the Olympic athlete, shall we say, and we are amazed and we love it."
"I'm constantly contemplating the mystery. You see a squirrel, he's on four legs. And here we are, balancing on two legs. We walk on two legs and we take that for granted. It's quite a thing. Then take it to the level of these characters. Theater is like, like, it boils things down to their essence, to the lightness of being. How about that? The lightness of being, like being on a bicycle. Is there anything as pleasing as the wind in your hair, you're speeding through the air and all is good. ... I'm sorry. I talk like this. That's how it goes."