Victoria is a clever satirist, ... She understands the awfulness that's at the heart of a lot of modern culture.
I've never thought it strange to do highly contrasting things. I always thought it was all part and parcel of theatrical expression. At school, I loved doing revues, I was in a rock 'n' roll group and I staged a couple of musical events, then, when I left, I formed a little company to do Hamlet.
I think part of Kevin's notion of being involved with the Old Vic was because he wants to blood himself with Shakespeare
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.
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.
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.
When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.
A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.
You are faced with the choice: either my integrity remains intact and this is the work that ends up on the screen, or I have to leave, and I have to be known to have left.
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've just taken the decision that I'm going to now go full time back into the theater.
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.
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.
The first big break was winning a scholarship to go to Cambridge University. I was very lucky, because my parents couldn't have afforded a university education for me. Without a scholarship I couldn't possibly have gone.
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.