It's my duty as a human being to be pissed off.
As soon as the dirt is hitting the casket, it'll all be forgotten.
I write for an audience that likes what I like, reads what I read, thinks about the things I think about. In many ways, this puts me in opposition to the people who go to the theater generally.
I'm very underground.
From my perspective of a guy in his late forties, its becoming more and more clear to me that the right thing to do and the wrong thing to do all depend on what part of life you are looking at it from.
I'm not hip, I'm not cool, I'm not glib.
If we all knew we were going to live to be 150 years old, we'd all approach our lives very differently.
It's a mental fake-out to myself. I make believe I'm making a new show so I forget the material I was working on and make up some fresh material.
There is nothing more boring than people who love you.
I do write about people who are complex and are striving with something and can't quite get past their own stuff, which would be a proxy for myself because that's what the deal is with me.
I write my plays to create an excuse for full-tilt acting and performing.
I write, but I also act.
The world intrudes in my brain daily. Since my brain is dripping with all kinds of stuff that's out there in the world, that I can't seem to be able to shut out, it has to end up being in my work as well.
If you say city to people, people have no problem thinking of the city as rife with problematic, screwed-up people, but if you say suburbs - and I'm not the first person to say this, it's been said over and over again in literature - there's a sense of normalcy.
For a long time, my shows were about people walking out or about getting my gigs canceled or having the presenter not wanting to pay me.
I'm not a light-hearted person, so I can't think light-hearted at work.
I'm always surprised by things that happen to my work.
I love playing other people's work. I love acting.
Well, the real Eric Bogosian is pretty self-conscious of himself.
If all I ever wrote about was inner city freaks, I think it would be dishonest.
Ensemble is hard to do. It's like 3-D chess.
I don't know anybody who does what I do. I'm very underground.
I started acting when I was in high school, started writing when I got to New York in 1975.
I provide the bricks and mortar with the words and situations - the director and the actors and the designers build the house.
I know that I'm inadequate, but I never thought that at seventeen. I thought I was doing the best I could. I thought I was being idealistic.
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