Black Comedy is a farce that is played in the dark, as you know, with the lights full on. It's the Chinese convention of reversing light and dark, and exactly where anybody is at any given moment is the play.
I made, over the years in Cambridge, several very good American friends, and America appeared to me, a land of promise in every sense of that word, a land of freedom from the inhibitions and restrictions that I felt in England.
I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.
I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.
It is very, very difficult for a playwright to write a scene in which a young man has his first deep experience of sex with a girl whom he found immensely attractive, is fully satisfied by this event and gets up and blinds a lot of horses.
It's an extraordinary thing about Mozart is that you never tire of him... he never bores me, and he doesn't... not only bore me, that's too strong a word.
They look so expectant, and then they look so depressed... that was the other great lesson that The Royal Hunt of the Sun taught me, it was the profundity that masked drama can achieve, that of course, the audience were not seeing masks moving at all.