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.

Most people I meet are secretly convinced that they’re a little crazier than the average person. People understand the energy necessary to maintain their own shields, but not the energy expended by other people. They understand that their own sanity is a performance, but when confronted by other people they confuse the person with the role.

Where if you're in a universe where you have to accept ideas, you'll never know if your partner wanted the garbage you're handing them. They have to take it.

When you want to have entertainment, it must be a waste of time. I don't like that. I don't like improvisation being pointless.

Every theatre worth anything has somebody in the middle of it who is driving it; like Joan Littlewood with her theatre.

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

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.