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.

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.

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

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.

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.

A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.

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.