I understood that I was not the best director in the world nor the worst director in the world. I realized that there is a very mysterious element to what works and what doesn't work in the theater. And it's good to know that from the beginning.

I know there are different kinds of actors, but I tend to have less effective relationships with actors who have a very private process - who really need to do lots of internal work, so that I become merely a witness until they're ready to share.

I understood that I was not the best director in the world nor the worst director in the world. I realized that there is a very mysterious element to what works and what doesn't work in the theater. And it's good to know that from the beginning.

I think good actors - good, collaborative actors who see themselves as leaders in a given production - can and should offer ideas that have nothing to do with wanting to direct themselves.

Theater isn't there to provide answers. Only possibilities. I just ask the questions. But I believe hope comes from the fact that there is a potential for redemption. At the core, that's what matters in the theater I'm attracted to. Do we dare to hope? Do we allow ourselves to hope?

I think, as written, 'Assassins' simply acknowledges the very human need to be acknowledged. As director, I've got to put aside any particular biases or prejudices that, as a moral human being, this is not an appropriate or acceptable way to get what you want.

If I hadn't gone into the theater, I would be a painter.