Frankenstein feels like an ancient tale, the kind of traditional story that appears in many other forms. It appeals to something very primal, but it's also about profound things, the very nature of life and death and birth - about, essentially, a man who is resisting the most irresistible fact of all, that we will be shuffling off this mortal coil.

I don't feel one could even remotely touch the idea of intimidating others, but because I've understood the other side of the experience, I will occasionally, if I smell that could even be in the air for a few minutes, say to the director, "Please, you must tell me anything you want. Please say all the things you think might be terribly hurtful like, 'That was boring.'"

There is some mysterious thing that goes on whereby, in the process of playing Shakespeare continuously, actors are surprised by the way the language actually acts on them.

The glory of 70mm is the sharpness of the image it offers.

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.

I'm just a foul-mouthed Brit.

The elasticity of Shakespeare is extraordinary.