Starting in the '80s or so, after the United States sharply cut its rates, other countries decided they better do it too, and here's how you do it: you just wipe out the exemptions, the deductions, the credits, the depreciation allowances. And people complain, "Oh my God, it's terrible," but you give them much lower rates and you give them an easier form to file, and people accept that tradeoff.
I try to please people, to give them a good time, but I refuse to make my act conform to traditional show-biz standards of entertainment. There's a little voice that says, 'Oh, no, you can't do that, that's breaking all the rules.' That's the voice of show business. Then this other little voice says, 'Try it.' And most of the time, when the voice comes on and says, 'No,' that's the time it works.
Even one word, or certainly one sentence, should be able to describe the basic characteristic that the scene has, or the character has, or the story has. And then you begin to detail that one spine, and you have offshoots from that spine, and it becomes more and more complex, but all of it stems from that one-word, one-line theme, which can give the character, the scene, or the play its uniqueness.