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.
In my early years, my father was away as a soldier in the war. When he came back, work was very difficult to come by. Even though he was a highly skilled man, a maker of furniture, the payment for that work was very poor.
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.
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.
If you feel very deeply about something, it's not possible to sacrifice your integrity about that.
I so wanted to perform, and I grasped every opportunity.
I've just taken the decision that I'm going to now go full time back into the theater.
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.
A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.
I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
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.
I would be terribly disappointed if anything would get in the way of my being cast in something, or if performances were canceled. It was a fix that I obviously needed.
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.
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.
One fine day I discovered that more complex plays really have to be directed.
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