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I had a lovely time growing up. But I was very aware of the miners' strike going on, friends' families collapsing, and people being unemployed.

Sometimes on Broadway, you don't know who the investors are, and you end up making a million dollars for somebody awful.

'West Side Story' is one of the greatest theatrical experiences I've had.

I don't know how films get made, and I think I'll leave it to other people.

'Philistines' was so beautiful, and it bored me to death. I never want to see another production where the rain splashes against a window and actors wander around in drab cardigans saying, 'I'm so bored.'

We just don't need any more 'Macbeth's in the world, however brilliant mine might turn out to be.

I thought a director was like a pillow who sat under the writer, supporting them and submitting to their vision. It took me a long time to realise that what a writer really wants is a production that matches the play and the writing. It is the only way the play can achieve its full potential.

Whenever I'd seen Greek tragedy done with masks and declamations, it brought me out in a rash.

One of the things I realised as I learned to manage a rehearsal room is that the best idea always has to win, and it doesn't matter where the idea comes from.

When I realised, on 'The Straits,' that physical work in the theatre takes much longer than directing scenes, it was like a eureka moment. If you want to work physically, you have to accommodate it, and it takes a disproportionate amount of time.

The physicality of a production needs evolution and breath.

I never get star-struck. I never fanboy. Ever, ever, ever.

When I sold my flat in Glasgow, I bought a little cottage on the North Yorkshire coast. Whenever we go up from London to stay there, I'm just like, 'I'm home! I'm home in Bronte-land!'

I was pre-med at Glasgow University. I was from a family who were of the mind that if you were clever enough to be a doctor or a lawyer, why wouldn't you be?

In theatre, previews are the first draft of a show. I strongly believe that. The only way we can truly tell whether that draft works is by having an audience present.

Theatre is a living organism. You only know if your show is working when you see it with an audience. You can also tell when it isn't working - it's horrible, and you desperately try to figure out how to make it connect.

I don't think it's good, culturally, to base all critical judgments on a single performance.

A first preview is not exactly a pleasant experience for directors and actors. You're never as raw as when the audience first comes in.

I was obsessed with theatre and loving the work of Caryl Churchill, Edward Bond, Howard Brenton, and Howard Barker, people doing real formal experimentation. But 'Road' was the first time I'd read a play written in a very true Northern dialect that seemed to have that excitement running through it.

It blows my mind that you get Shakespeare where the 'low' comedy characters have got Northern or Welsh accents.

I don't think that just because people will pay a certain amount for a ticket that it's all right to charge it.

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