The plays I choose to work on are about having masks. We all have masks in life, but there is a different inner life going on. The audience has to work hard to see what is going on. I love what is not on display.
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'War Horse' is just an extraordinary being.
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I suppose what's so amazing about working at the National Theatre is that, because it's a subsidized theatre, you're not trying to create a product that's going to have a mass market in order to make the money back.
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I believe that theater has to be utterly life-changing for the people watching it.
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I would like to see more female stories out there, particularly older female stories.
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My father was a director, and my mother and grandparents were actors, so I spent a great deal of my time as a teenager trying to get away from the theatre.
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I used to love getting older.
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For me, it's life or death doing plays: there's this perfectionist thing about me that it has to be brilliant - anything less than that is a failure.
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Whether you're a man or a woman, life can be very, very difficult and confusing and desperate, and it's life-enhancing to know that somehow, there is a way through it.