I tried to start a theatre in LA and failed miserably, but I was probably not meant to raise money.

I did write a couple of original screenplays, but I'd rather write plays.

But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.

Then, when I was a senior in high school, I was kind of bereft and she put me in an acting class.

It's called Sisters of the Winter Madrigal. It was interesting for me to see it done after so many years; because I wrote it and I didn't realize what a rage I was in.

I love writing for the screen.

Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.

I was just restless with being in school; so I went out to Los Angeles.

What I loved about the acting class was that you got to think all day long about a person that wasn't you, and figure out why they were sad and what they wanted, what they dreamed.

Then I went off to Southern Methodist University in Dallas. They had a really wonderful theatre department.

My fault now is making my plays too short.

I tried to start a theatre in LA and failed miserably, but I was probably not meant to raise money.

The next thing I wrote was in a writing class at night school. It was about a poor woman who worked at a dime store and who was all alone for Christmas in Laurel, Mississippi.

I just loved being divorced from my own wretchedness.

It was kind of enlightening to become a playwright.

In movement class, you had to lie on the floor and get your alignment in to pass the class.

The most glorious thing about working in the collaborative art is when you have somebody like Susan Kingsley or Kathy Bates who are better than your play.

You can't just go in there and open your mouth until the cast and director feel comfortable with you.

Part of that is that New York has proved to be too much fun for me to live and work; I love New York so much.

Plays are so much more special if they've never ever had a production, but I think you can really work on a play and make it better with each production.

That was always my inclination, to start on a new play before the other one gets done, because at least you'll have something to go back to if that play gets trashed.

Some really good things kind of swing both ways and I like to see people that can swing really, really, really sad and horrible and terrible and really, really, really beautiful and funny.

My first few plays took place in the South and even The Lucky Spot was in the thirties but in Louisiana.

It's really interesting that whenever you do something that is so out of character, like having an emotional outburst, that you don't get in trouble.

I grew up in Jackson, Mississippi, really in suburbia, so my mother was in community theatre plays.

The impetus behind going to graduate school was a year after graduating from college spent in Dallas working at the dog food factory and Bank America and not having met success in my chosen field, which at that point was being an actress.

I'm very into the first production of the show.

I also do not like the idea of soft money, these issue ads - people don't know where the money is coming from, millions and millions of dollars outside of the control of a candidate - there's no accountability.

Stories come from other shows at other studios where only 2,000 rounds were actually used and the money for the other 3,000 went right into the studio pockets. Corners were cut and that production suffered. Knock wood, that hasn't happened to us.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

When I sent those scripts, that was the lowest point of my life. We'd just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I've got $26 left.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I would rather take the role and work and make my own money and self respect than to have sex with someone who has a lot of money.

People may take a job for more money, but they often leave it for more recognition.

I make no claim to being a business genius. You can make so much money in this business that it loses its value.

It costs a great deal of money to do a musical, and the more money involved, the more big business influences the artform.

The world over, give a guy money and it goes to drinking, gambling, and women. When you give a woman money, it goes to feeding, clothing, helping people.

Your team has to understand that coming into the ABA, you have to have your investments right and sponsorships and people ready to give you money so they can back you up.

I wanted to be an actress. In college I was a serious feminist and very political. I was determined to get one thing out of my career and that was respect. I didn't want money. I didn't care about fame.

A drunkard would not give money to sober people. He said they would only eat it, and buy clothes and send their children to school with it.

If you're a producer, you always spend too much money because you want that shot - and you're willing to spend a bundle to get it.

We are demonstrating for services for all the people and not just services for money. It's very important that this message goes to the European Parliament today.

I write plays not to make money, but to stop myself from going mad. Because it's my way of making the world rational to me.

It's important not to limit the amount of their own money that candidates can spend, but to give other people access to enough money to run competitive races.

The rule is not to talk about money with people who have much more or much less than you.

It's about the power of design and the power of the human spirit. It's above paying anybody to do something stupid for money like reality television does - like ambushing people.

Today, they're just up there for the money, just packaged and be gone.

The unions claim the deck is stacked against them when it comes to labor laws, but the truth is many private and public sector workers are forced to pay union dues as a condition of their employment, yet they have little say in how the unions spend their money.