The foyers now look ridiculously small to us because not all that many people used them.

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.

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.

The newly decorated theatres produced things like car parks and restaurants, so you could have a good night out, quite cheaply without all that bother of having to go somewhere else.

A conventional playwright tries to tell you more about the characters than they know about themselves.

You're not allowed to step out of whatever the rules are, politically, or socially, and they'll get you for it, they'll hunt you down. That's the really frightening thing.

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.