I was brought up in industrial south Lancashire, down the cobbled road from where LS Lowry (1887-1976) lived and painted.

When you're on stage with an audience, the director's nowhere to be seen. He's onto the next job.

My reaction to 3D is subtly. Things don't come out at you, but rather you - The audience come into the film.

It's only fair that stable gay relationships of long standing should have the same rights and responsibilities as married couples. I know the image of gay marriage is to some people horrific and ludicrous.

As for the clarity of the 48 frames, I've heard people say that it looks odd, it's too demanding, there's too much information, you don't know where to look.

When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.

The thing you notice here after America is how refreshingly ordinary people look, because they haven't had their chin wrapped around the back of their ears.