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 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.

I was born in Liverpool in England, and I lived there for the first nine years of my life.

It will be quite satisfactory if you open them gradually, as the circumstances may require; but the President assures you that this will not be the case if you make a treaty with England first.

If you make a treaty first with the United States and settle the matter of the opium trade, England cannot change this, though she should desire to do so.

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.

Furthermore, the spirit of enterprise which had its first intellectual development in England has especially flourished here as well as throughout all of Canada, while the same spirit has become less virile in the land of its origin.

They say that the commons of England would first destroy the king's friends and afterward himself, and then bring the Duke of York to be king so that by their false means and lies they may make him to hate and destroy his friends, and cherish his false traitors.

I discovered freedom for the first time in England.

The first organised opposition by women to women's suffrage in England dates from 1889, when a number of ladies led by Mrs Ward appealed against the proposed extension of the Parliamentary suffrage to women.

My first crush was Hayley Mills when I was a little kid in England. I used to kiss her picture goodnight.

I love England. It's no coincidence it's the first place I moved to for a more cosmopolitan life, which is the only thing Iceland lacks.

I finished my studies in England, I opened my studio in London, and the first one-man exhibit I had on Bond Street, which was opened by the Austrian ambassador.

I was born in London, England, in 1938, a few months before the war, and spent the first years of my life there, although I was evacuated a couple of times for short periods. My schooling was very interrupted, both by frequent moves and by ill health.

Androgyny is not trying to manage the relationship between the opposites; it is simply flowing between them.

We're all like children. We may think we grow up, but to me, being grown up is death, stopping thinking, trying to find out things, going on learning.

I am playing with the assumptions that we have in our everyday life when we are tripped up or fooled and we learn something, that makes things exciting - I am having fun with that stuff, but you have to manage it so it doesn't get too cute, that's what I trying to work toward.

'Thou shalt not get found out' is not one of God's commandments; and no man can be saved by trying to keep it.

Well, I think that those of us in public life that are trying to do a good job, and that are faced with this popular new game that the media has of being critical of everything that anybody in public office does probably are thin-skinned.

When Frank the Pug is singing I Will Survive, the only reason it's funny is that Will is in that shot trying not to get angry. A shot of a dog singing I Will Survive on its own will not get a laugh.

I sometimes lie awake at night trying to think of something funny that Richard Nixon said.

Votes are like trees, if you are trying to build a forest. If you have more trees than you have forests, then at that point the pollsters will probably say you will win.

I'd been trying for all of the eight years we'd been married to have a child, and finally I did.

Yeah; I'm a much better blues player than anybody knows, but being in the kind of group I'm in, we were always trying to make popular records.