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.

So, through all that early professional career I would occasionally do a musical, a pantomime or a play with songs. The next stop would be a Shakespeare, or an Ibsen, or a play by a brand new writer who had never done anything in the theater before.

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

In my teens, I developed a passionate idolatry for a teacher of English literature. I wanted to do something that he would approve of more, so I thought I should be some sort of a scholar.

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

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

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.