Sometimes it comes out in what I call tricksy behavior. That's not always easy to deal with, but it's fascinating. The key thing is to make sure that somebody's tricks don't trip up somebody else.

The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.

We're self obsessed and mad and stupid - not that other people can't be the same way - but the extremes are kind of honest in some mad way. Anyway, I like them.

Somehow I know there was something so right about my doing Frankenstein and taking so long over it that I've probably been laying some ghost inside myself. It was a very necessary job for me to do, but it'll take some time to recover from it.

I don't think Hamlet is mad, nor is he predisposed to be a gloomy or tragic figure.

The ferocity of passion that is engendered by people when they don't like what you've done is really tremendous. It's intense.

I noted about Cate Blanchett was her very positive lack of concern for how she turns out in Cinderella. She is happy to be a villainess and very pleased to be encouraged as I did with her to reveal this backstory and feel as though this was very human, that this broken heart of hers, if you might regard it that way, would be visible, but she never played for sympathy and I really admired that about her, so she's just there, she just is and uncompromisingly.