I think that a lot of exciting elements are finding a place where a film is happily, truly about something.

I think that a lot of exciting elements are finding a place where a film is happily, truly about something.

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.

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

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.

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.

It doesn't mean old or younger. I've learned a lot from people much younger than me as well as people much older than me. So I think it's about honesty and generosity.