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.

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

One of the things he liked about playwriting as to any other kind of writing is that a playwright is a w-r-i-g-h-t, not a w-r-i-t-e; in other words, that a playwright is more of a craftsman than an artist of the big novel.

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.

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.

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

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.