When you talk to women who were working as print journalists or in broadcasting in the '50s, and then you talk to women who were working in the late '60s, there's an enormous difference. There had already been a huge transition. Then, of course, you get well into the '70s and there were women with children working.

When you're on stage, you build strong relationships with the actors, but it's a story you tell with the audience - you have to include them, you have to respond to them, they have to understand the narrative.

I think with the best actors, emotion is something that has no kind of check in them.

Postwar Europe was morally stagnant, and there was a lot of neo-conservatism.

It's hard for actors to have to deal with the fact that they pour so much into their character, but the audience might have a negative assessment of them.

I don't really want to play parts that I think are not fully developed or fleshed out, especially with female roles.

I just don't believe you're capable of being an actor unless you have a desire to experience your emotions in a public way.