I mean I'm talking about playing games, about imagining other people, and it's part of the way that it helps you actually see the world.

Normally when people ask me what I do I say I'm an actor, and that's what I always wanted to be and that's the way I approach work even when I'm directing it.

When you make something, if you are a painter or a writer, a degree, or a sculptor or whatever or a musician, a degree of energy is required to make it, and I'm not sure that it is always aggressive, but when you have a great deal of energy it can appear to be more aggressive than it is. In fact, I mean you can talk about a waterfall being aggressive, but in fact it is just a very powerful forward movement of energy, and although I think sometimes my engine house is a kind of anger.

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.

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.

We live in an age where quantity is seen as preferable to quality, and many people tend to work in a horizontal line: next, next, next. But if you do that, you never investigate the vertical line - the depth of the piece.