“I believe the way to write a good play is to convince yourself it is easy to do--then go ahead and do it with ease. Don't maul, don't suffer, don't groan till the first draft is finished. A play is a pheonix and it dies a thousand deaths. Usually at night. In the morning it springs up again from its ashes and crows like a happy rooster. It is never as bad as you think, it is never as good. It is somewhere in between, and success or failure depends on which end of your emotional gamut concerning its value it approaches more closely. But it is much more likely to be good if you think it is wonderful while you are writing the first draft. An artist must believe in himself. Your belief is contagious. Others may say he is vain, but they are affected.”

“Then what is good? The obsessive interest in human affairs, plus a certain amount of compassion and moral conviction, that first made the experience of living something that must be translated into pigment or music or bodily movement or poetry or prose or anything that's dynamic and expressivee--that's what's good for you if you're at all serious in your aims. William Saroyan wrote a great play on this theme, that purity of heart is the one success worth having. "In the time of your life--live!" That time is short and it doesn't return again. It is slipping away while I write this and while you read it, the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition.”

“William Saroyan wrote a great play on this theme, that purity of heart is the one success worth having. "In the time of your life--live!" That time is short and it doesn't return again. It is slipping away while I write this and while you read it, and the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition.”

“Q.Why don't you write about nice people? Haven't you ever known any nice people in your life?A.My theory about nice people is so simple that I am embarrassed to say it.Q.Please say it.A.Well, I've never met one that I couldn't love if I completely knew him and understood him, and in my work I have at least tried to arrive at knowledge and understanding.I don't believe in 'original sin'. I don't believe in 'guilt'. I don't believe in villains or heroes - only right or wrong ways that individuals have taken, not by choice but by necessity or by certain still-uncomprehended influences in themselves, their circumstances, and their antecedents.This is so simple I'm ashamed to say it, but I'm sure it's true. In fact, I would bet my life on it! And that's why I don't understand why our propaganda machines are always trying to teach us, to persuade us, to hate and fear other people on the same little world that we live in.Why don't we meet these people and get to know them as I try to meet and know people in my plays?”

“--- What is the victory of a cat on a hot tin roof? --- I wish I knew ...Just staying on it, I guess, as long as she can ...[More croquet sounds]Later tonight I'm going to tell you I love you an' maybe by that time you'll be drunk enough to believe me. Yes, they're playing croquet ...Big Daddy is dying of cancer ...What were you thinking of when I caught you looking at me like that? Were you thinking of Skipper?[Brick crosses to the bar, takes a quick drink, and rubs his head with a towel]Laws of silence don't work ...When something is festering in your memory or your imagination, laws of silence don't work, it's like shutting a door and locking it on a house on fire in hope of forgetting that the house is burning. But not facing a fire doesn't put it out. Silence about a thing just magnifies it. It grows and festers in silence, becomes malignant ....Get dressed, Brick.”

“Don't wait for good things to come your way, instead do good things for yourself and others while you wait.”

“In all these years, you never believed I loved you. And I did. I did so much. I did love you. I even loved your hate and your hardness.”