The bigger the movie is, the more agendas everybody has. It becomes more of a job for everyone, but on these small movies, you're making them because you want to make them. You're there because you want to do it. When you make a small movie, the one thing you have is that everyone is unified. That's what you need. You want everybody to want to be there and be a part of the project. If you can cultivate that, everyone works hard for it.

The Long and the Short and the Tall made a great impression on me because it was a very ugly tale about the reality of soldiering at a time when we were being gung-ho about the whole thing of war.

Lord Chamberlain's readers or controllers, which were a handful of people working directly to him, were a very assorted group of people and some of them tried very hard to be as liberal as they could.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

I don't believe in right-angled turning points.

In 1968 the Arts Council managed to get a grant from the treasury to buy up a lot of derelict touring theatres and put them back in the hands of the local authorities.

Anybody can decide if they have got the money to fight a case if they don't like a particular thing, and they complain to the watch committee, local council or whatever.