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.

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.

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 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 so wanted to perform, and I grasped every opportunity.