Obviously, you would give your life for your children, or give them the last biscuit on the plate. But to me, the trick in life is to take that sense of generosity between kin, make it apply to the extended family and to your neighbour, your village and beyond.
All your life, you live so close to truth, it becomes a permanent blur in the corner of your eye. And when something nudges it into outline, it is like being ambushed by a grotesque.
It is easily and often overlooked that when Thomas Jefferson asserted that life, liberty and the pursuit of happiness were inalienable human rights, he did so on the ground that they had been endowed by God, our Creator.
Skill without imagination is craftsmanship and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art.
In January 1962, when I was the author of one and a half unperformed plays, I attended a student production of 'The Birthday Party' at the Victoria Rooms in Bristol. Just before it began, I realised that Harold Pinter was sitting in front of me.
I was an awful critic. I operated on the assumption that there was an absolute scale of values against which art could be measured. I didn't trust my own subjective responses.
Pink Floyd are one of a handful of bands I've listened to a lot and whose concerts I've been to. I love the experience. I don't dance; I just jig up and down like everybody else.
For me, human rights simply endorse a view of life and a set of moral values that are perfectly clear to an eight-year-old child. A child knows what is fair and isn't fair, and justice derives from that knowledge.
I feel that when I began writing, I had a need to know more about the play before I got into it. I think that's the way I was thinking. But my actual experience is that the best way to find out what the structure is, is by writing the play out laterally. You just have got to be brave enough to start without knowing where you are going.
That I have the right to express myself freely at all times in all circumstances entails the idea that free speech is a 'basic human right' possessed by each individual, and, as such, trumps the interests of the society or group, including my neighbour.
If you associate enough with older people who do enjoy their lives, who are not stored away in any golden ghettos, you will gain a sense of continuity and of the possibility for a full life.
I don't want to come over as some boringly self-deprecating person. But I don't see myself as a groundbreaking writer in the way plays are structured.
When I was 20, in 1957, and maybe you would say I was old enough to know better, but nevertheless, I was completely nuts about Buddy Holly. And I loved pop bands that had absolutely no intellectual pretensions whatsoever. I loved the Monkees.
I think... the history of civilization is an attempt to codify, classify and categorize aspects of human nature that hardly lend themselves to that process.
When 'The Dark Side of the Moon' was a new album in 1973, a friend of mine walked into my room where I was working with a copy in his hand and said, 'You really have to do a play about this album.'
Success is a sort of metaphysical experience. I live exactly as I did before - only on a slightly bigger scale. Naturally, I won't be corrupted. I'll sit there in my Rolls, uncorrupted, and tell my chauffeur, uncorruptedly, where to go.
The House of Lords, an illusion to which I have never been able to subscribe - responsibility without power, the prerogative of the eunuch throughout the ages.
I'm not a theoretician about playwriting, but I have a strong sense that plays have to be pitched - the scene, the line, the word - at the exact point where the audience has just the right amount of information. It's like Occam's razor.
The whole philosophy of modern times is to dissolve distinctions between individuals and deal with them as large collections of people. It's essentially self-interested on the part of authority.
To wrap up the idea of 'Parade's End' in a sentence or two, I would say it's a love story in which we see a man with two women, and we know what's attractive about them. And we know why and what they feel about him.