People expect the math to be simplified, but I want to surprise them right from the start. When the brain gets lost, it doesn't stop working. It tries to makes sense of things. It begins to speculate and guess, and that's when things open up. That's exciting.

I sometimes feel that I am trying to dig in the world around me. I'm involved in another kind of archaeology to look for another kind of truth, and the moment I find, the moment I am separated from that life, the moment I am sort of in a world, every time I have gone out and performed in the, in the cinema for example, if you do two or three films on the trot you suddenly have this impression that you're becoming separate or separated from the world around you.

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.

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.

As far as I'm concerned all theatre is physical. As Aristotle says, you know, theatre is an act and an action, and he didn't mean just the writing of it, he meant that at the centre of any piece there is an action, a physical action.

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