I've just taken the decision that I'm going to now go full time back into the theater.

I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera.

I've experienced a private doubt, something that I've kept deeply inside, and then eventually delivered a piece of work that people responded to with huge enthusiasm.

What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.

In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.

I always believe it's better to have 30 imaginations working on a project, rather than one imagination telling the other 29 what to do.

The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.