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

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.

After Frankenstein, I feel as if I want to make a film about somebody having a nice cup of tea.

Friendship is one of the most tangible things in a world which offers fewer and fewer supports.

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.

Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.

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