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 think it was a desire to be able to find my own voice. I think that was the big urge within me.

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.

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.

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.

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.

We live in an age where quantity is seen as preferable to quality, and many people tend to work in a horizontal line: next, next, next. But if you do that, you never investigate the vertical line - the depth of the piece.