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.

As soon as the dirt is hitting the casket, it'll all be forgotten.

Ensemble is hard to do. It's like 3-D chess.

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 don't know anybody who does what I do. I'm very underground.

I love playing other people's work. I love acting.

I provide the bricks and mortar with the words and situations - the director and the actors and the designers build the house.

I started acting when I was in high school, started writing when I got to New York in 1975.

I was definitely surprised when Talk Radio took off as a play. As a film it has become somewhere between a popular thing and a cult thing.

I write my plays to create an excuse for full-tilt acting and performing.

I write, but I also act.

I'm always surprised by things that happen to my work.

I'm not a light-hearted person, so I can't think light-hearted at work.

I'm not hip, I'm not cool, I'm not glib.

I'm very underground.

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.

Well, the real Eric Bogosian is pretty self-conscious of himself.

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 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.