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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.

Trevor Nunn

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Trevor Nunn
Age: 84
Born: 1940
Born: January 14
Film Director
Film Producer
Theatre Director
Theatrical Director
Ipswich (parish)
Sir Trevor Robert Nunn
Fortunate
Allowed
Integrity
Worked
Limits
Commercial
Theater
Define
Pretty
Producers
Work
Artistic

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One fine day I discovered that more complex plays really have to be directed.
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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.
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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.
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I've experienced a private doubt, something that I've kept deeply inside, and then eventually delivered a piece of work that people responded to with huge enthusiasm.
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The thing that I had saved up for myself and wanted most to bring off was a fully fledged professional production of Hamlet at the Royal Shakespeare Theater in Stratford.
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I so wanted to perform, and I grasped every opportunity.
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Mem'ry All alone in the moonlight I can smile at the old days Life was beautiful then.
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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.
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Soundbite and slogan, strapline and headline, at every turn we meet hyperbole. The soaring inflation of the English language is more urgently in need of control than the economic variety.
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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.
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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.
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I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
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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.
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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.
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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.
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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.
Trevor Nunn
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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.
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If you feel very deeply about something, it's not possible to sacrifice your integrity about that.
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