I think it was a desire to be able to find my own voice. I think that was the big urge within me.

Yes it was chaos, working through chaos, you never quite knew what you were going to do each day, but you knew that you wanted to make something.

I suppose as an actor you become very sensitive to rhythm, not just rhythm as you look at it sort of from the, from the outside as a director might see it, but within yourself you become used to the idea of hearing your fellow actors, responding to them in space.

I can't remember a single year of my life when I haven't made a piece of theatre.

People expect the math to be simplified, but I want to surprise them right from the start. When the brain gets lost, it doesn't stop working. It tries to makes sense of things. It begins to speculate and guess, and that's when things open up. That's exciting.

Any fifth language that you use should be equally used as just another bit of theater language, so that if you have a strong text, then the light should be as strongly part of that text as, for example, the sound it should be or whatever it is that you see.

One of the things he liked about playwriting as to any other kind of writing is that a playwright is a w-r-i-g-h-t, not a w-r-i-t-e in other words, that a playwright is more of a craftsman than an artist of the big novel.

We try to place the human body in relation to the image all the time, so it's never a kind of a backdrop, but it's more of ...a much more integrative experience.

Every time I make, I've made a piece of work, I've wanted to get rid of it, obliterate it and do the next thing, because it was never quite what I wanted. I think the moment you think you've arrived is the moment that you should stop.