I mean, in the foreword to Impro in Denmark is by Søren Iversen, who I taught long ago, he was a Danish director, after he left. He said he'd read about [Eugeny] Vakhtangov. I'm a fan of his. When he heard that Vakhtangov had lots of tricks, he thought this was very bad. But when he came to be my student, he realised it was very good to have a lot of tricks. You saw some this morning.

Imagination is as effortless as perception, unless we think it might be ‘wrong’, which is what our education encourages us to believe.

If you believe you're good already, you don't need to do extra stuff to impress us. Your best work comes when you're absorbed; because then your ego is away.

You can sort of trick people into being really good. Even if they didn't know anything.

Many teachers think of children as immature adults. It might lead to better and more 'respectful' teaching, if we thought of adults as atrophied children.

Suppose Mozart had tried to be original? It would have been like a man at the North Pole trying to walk north, and this is true of all of the rest of us. Striving after originality takes you far away from your true self, and makes your work mediocre.

My feeling is the moment the theatre is not full you have to do something else. But most people somehow think 'If we did it better, they would come'. No. They don't come.