The only reality of the theater exists in the mind of the audience. That audience looks collectively at what is going on on the stage and collectively imagines that this is real.

The more they uncover the more mystery appears to be there.

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

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.

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 had a teacher in Paris, who said that if an actor forgot what it's like to play as a child he shouldn't be an actor. I've always loved being with children. It's marvellous to see the fresh ways they see the world. Watching them look at a tree or a river helps you to understand something that's very important.

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.