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.

Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.

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.

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.

If you're a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that's dangerously close to arrogance.

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.