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.

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.

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.

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

Any fifth language that you use should be equally used as just another bit of theater language, so that if you have a strong text, then the light should be as strongly part of that text as, for example, the sound it should be or whatever it is that you see.

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.