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.

Yes it was chaos, working through chaos, you never quite knew what you were going to do each day, but you knew that you wanted to make something.

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 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.

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 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.