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.

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.

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

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

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

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.

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.