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

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.

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

In a way, I have to have a dictatorship. I can't be told that I'm wrong. That conflicts with what I was saying earlier about listening. It isn't to do with receiving criticism and responding to other views, it's who has that last decision.

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.

One fine day I discovered that more complex plays really have to be directed.

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.