Across all Cinderella versions it was clear that the 21st century was not very much in evidence, particularly in the character of Cinderella so it seemed, it felt actually as though it hadn't been done for quite some time, not with the kind of lushness that we could do it with, with an absolute removal of the passivity of Cinderella and finding an amusing way, a lighthearted but significant way of making her proactive and not a girl who's life is about waiting for a bloke.

Even if people are all from the same place, there can be very, very different approaches. It's one of the things I'm fascinated by. It's why I like directing. I like to see how different people approach trying to be truthful, on camera or in the theater, and whether you can make them match up.

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

Hamlet and Victor Frankenstein are each obsessed with death. Hamlet's whole story is a philosophical preparation for death; Victor's is an intellectual refusal to accept it.

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

There are some amazing stories from all over this country, where people's work and contribution has been acknowledged. To be part of that is an absolutely fantastic feeling.

Actors are the best and the worst of people. They're like kids. When they're good, they're very very good. When they're bad they're very very naughty.