We try to place the human body in relation to the image all the time, so it's never a kind of a backdrop, but it's more of ...a much more integrative experience.

Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.

I think it was a desire to be able to find my own voice. I think that was the big urge within me.

Every time I make, I've made a piece of work, I've wanted to get rid of it, obliterate it and do the next thing, because it was never quite what I wanted. I think the moment you think you've arrived is the moment that you should stop.

We try to place the human body in relation to the image all the time, so it's never a kind of a backdrop, but it's more of ...a much more integrative experience.

I suppose as an actor you become very sensitive to rhythm, not just rhythm as you look at it sort of from the, from the outside as a director might see it, but within yourself you become used to the idea of hearing your fellow actors, responding to them in space.

Yes it was chaos, working through chaos, you never quite knew what you were going to do each day, but you knew that you wanted to make something.