I suppose meeting people whether it's in real life and actually shaking their flesh and blood hand or shaking the mystical hand of the character all rub off on you in some way.

One tries to be an observer as an actor and indeed as a director because the small things, the give-away things are what are really interesting to a performer.

So we do have our exits and our entrances and we are perhaps mere, but I think if one keep a certain joyousness in life which should be in playing, then good for one, but it's slightly more serious than that.

But I think theatre in a repressive society is an immensely exciting event and theatre in a luxurious old, affluent old society like ours is an entertaining event.

But I think the possibility of a black and white society feeding each other's expertises, living harmoniously, will probably go along in fits and starts now but at least it has a great constitution now to back it up.

OK, well maybe I have to get back to Judaism. In the sense that if I look at me and my forebears forever stretching back to I don't know, whenever there's no sense of place and therefore no sense of nationality.

It was but then, when you're, one of the great poisonous events that have infected us all who were in South Africa is that the idea of difference is drip fed into your veins. It's that that you fight.