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 sometimes feel that I am trying to dig in the world around me. I'm involved in another kind of archaeology to look for another kind of truth, and the moment I find, the moment I am separated from that life, the moment I am sort of in a world, every time I have gone out and performed in the, in the cinema for example, if you do two or three films on the trot you suddenly have this impression that you're becoming separate or separated from the world around you.

I can't remember a single year of my life when I haven't made a piece of theatre.

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.

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.

As far as I'm concerned all theatre is physical. As Aristotle says, you know, theatre is an act and an action, and he didn't mean just the writing of it, he meant that at the centre of any piece there is an action, a physical action.

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.