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.

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.

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.

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 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.

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.

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.

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.

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.

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.

I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.

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.

When I was 13 years old, a professional theater company in my town needed a kid actor. I auditioned, and I got the part, so for just a few weeks I became a member of the company and I met some professional actors.

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.

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.

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.

One fine day I discovered that more complex plays really have to be directed.

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.

If you feel very deeply about something, it's not possible to sacrifice your integrity about that.

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.

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 just taken the decision that I'm going to now go full time back into the theater.

In my teens, I developed a passionate idolatry for a teacher of English literature. I wanted to do something that he would approve of more, so I thought I should be some sort of a scholar.

A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.

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 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.

I so wanted to perform, and I grasped every opportunity.

Education is the cornerstone of our communities and our country.

Democracy cannot succeed unless those who express their choice are prepared to choose wisely. The real safeguard of democracy, therefore, is education.

I feel that education needs an overhaul - courses are obsolete and grades are on the way out.

Education is a private matter between the person and the world of knowledge and experience, and has little to do with school or college.

Only time, education and plenty of good schooling will make anti-segregation work.

The education of my brother and myself was of paramount importance to my parents, and in addition to their strong encouragement, they were prepared to make any sacrifice to further our intellectual development.

We have a responsibility to ensure that every individual has the opportunity to receive a high-quality education, from prekindergarten to elementary and secondary, to special education, to technical and higher education and beyond.

Yesterday in this country we had people die of hunger and malnutrition. In some parts of this country, the infant mortality rate rivals that of sub-Saharan Africa. We have a public education system that ranks below that of almost any other Western nation.

The test and the use of man's education is that he finds pleasure in the exercise of his mind.

We spend more than a million dollars a year on our colleges and university, and it is money well spent; but we must have education that fits not the few but the many for the business of life.

Every single major push in education has made it worse and right now it's really bad because everything we've done is de-humanizing education. It's destroying the possibility of the teacher and the student having a warm, friendly, intellectual relationship.

It is only the ignorant who despise education.

The benefits of education and of useful knowledge, generally diffused through a community, are essential to the preservation of a free government.

When the students are occupied, they're not juvenile delinquents. I believe that education is a capital investment.

Don't give up on the child. Give the child an education. Give them daily love.

Education is our greatest opportunity to give an irrevocable gift to the next generation.

If you stop and think about our history, one of the reasons we had an American century and there is an American dream was because at key points in our history we made very bold decisions about making sure that there was very broad, universal access to quality education.

And I also thought that Richard Nixon was the greatest political education we have ever had, but it looks like we need to relearn them again.

I am playing the violin, that's all I know, nothing else, no education, no nothing. You just practice every day.

One of the biggest development issues in the world is the education of girls. In the United States and Europe, it has been accepted, but not in Africa and the developing countries.

I agree that it is not just the extremists who harbor bad thoughts or engage in bad acts, but they are usually the source of the polarization and try to keep education and communication of the main stream from moving forward.

Because of the lack of education on AIDS, discrimination, fear, panic, and lies surrounded me.