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.

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.

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.

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.

Infinity is a way to describe the incomprehensible to the human mind. In a way it notates a mystery. That kind of mystery exists in relationships. A lifetime is not enough to know someone else. It provides a brief glimpse.

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.

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.