Preparing a character is the opposite of building-it is a demolishing, removing brick by brick everything in the actor's muscles, ideas and inhibitions that stands between him and the part, until one day, with a great rush of air, the character invades his every pore.

An icon painter starts not with Jesus Christ but by finding earth and rubbing. Now what is earth, what are you rubbing in directing?

Many audiences all over the world will answer positively from their own experience that they have seen the face of the invisible through an experience on the stage that transcended their experience in life. They will maintain that Oedipus or Berenice or Hamlet or The Three Sisters performed with beauty and with love fires the spirit and gives them a reminder that daily drabness is not necessarily all.

I can take any empty space and call it a bare stage. A man walks across this empty space, whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.

Shakespeare doesn't belong to the past. If his material is valid, it is valid now. It's like coal. The only meaningfulness of a piece of coal starts and finishes with its combustion, giving us light and heat. And that to me is Shakespeare.

A word does not start as a word – it is an end product which begins as an impulse, stimulated by attitude and behaviour which dictates the need for expression.

The closeness of reality and the distance of myth, because if there is no distance you aren't amazed, and if there is no closeness you aren't moved.