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

The only way that you can keep moving forward, finding other ways of expressing things about this increasingly complicated world that we live in, is by listening and observing not only to life around you but to the other people who are in the room. It's not about a sort of, you know, a sense that you have to be democratic about these things, it's a question of creativity that the process of making theatre is a collaborative process, and it is not in, it is not a question of, you know, I have no interest in paying lip service to it, for me it's absolutely fundamental.

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.

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.

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.

The other, the other aspect when I say I'm an actor is that as an actor you make this imaginative leap into being somebody else, that's to say the muscle of the imagination is as important as any other of the muscles in your body, and so it is something about this instinct in space and time which for me I associate with being an actor rather than a director.

Ultimately, theatre takes place in the minds of the audience: they all imagine the same thing at the same time.