If you feel very deeply about something, it's not possible to sacrifice your integrity about that.

I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.

Soundbite and slogan, strapline and headline, at every turn we meet hyperbole. The soaring inflation of the English language is more urgently in need of control than the economic variety.

I would be terribly disappointed if anything would get in the way of my being cast in something, or if performances were canceled. It was a fix that I obviously needed.

I so wanted to perform, and I grasped every opportunity.

If you can't fully believe in your ideas, it very quickly communicates to a group of actors who need something to hold onto. They need to believe that whatever criticism, whatever comment is received, is meant.

I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.