The main factor in any form of creativeness is the life of a human spirit, that of the actor and his part, their joint feelings and subconscious creation.

Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.

Who am I? What will I be? Why am I here? Where am I going?

I have taken film-work that has been a little more cliché-written, to support myself and my family, and that's a whole kind of other challenge. It's like chopping wood: You've got to take what you can get and bless what withstands you. But in theatre! There's enough great theatre that you can find something interesting!

The life of a character should be an unbroken line of events and emotions, but a play only gives us a few moments on that line - we must create the rest to portray a convincing life.

Unless the theatre can ennoble you, make you a better person, you should flee from it.

In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings. This is how the two levels of life in a part are created, the inner and the outer. They are intertwined. A common purpose brings them together and reinforces the unbreakable bond.