It's hard to get people up and out to shows, but 'The Walworth Farce' has masses of energy and will attract a crowd who don't always come to the theatre, which is great.
Sometimes I know a film might not pull the audience to the theatres and have a great collection at the box office. But I need to do these films for creative satisfaction and give something different to the audience.
I get on with actors, and when I'm doing a theatre show, it's great being with them all the time. But we're all alike, and it's much nicer being with people who are different.
Fundamentally, whether directing in the theatre or a film, you have to be a good storyteller, regardless of the form. The thing I had to work hardest at was thinking in shots.
I go to the theatre expecting to have a good time. I want each play and performance to take me somewhere. Naturally, this doesn't always happen.
I figured as I got older, the good roles for women would be in the theatre. So 15 years ago I started building a Broadway career to try and develop the chops to be accepted as a great theatrical actress.
A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.
I don't think it's the job of filmmakers to give anybody answers. I do think, though, that a good film makes you ask questions of yourself as you leave the theatre.
Dance Theatre of Harlem has done a lot of good things well, a lot of good things badly, and a lot of bad things - it doesn't matter how.
I'd quite like to do a film but I'd also love to do more theatre. I want to keep challenging myself with good roles. It's harder for women because there aren't as many challenging roles.
It's all good fun - television and movies and so on - but the good thing in theatre is there's nothing and no one between you and the audience so you can do what you want really.
I love film, but it's funny going to drama school for three years, where you spend most of your time training for theatre, then coming out and just doing films.
People always make that mistake when they talk about theatre - the notion of the 'theatrical' meaning something separate from life. If it doesn't relate to life, it doesn't relate to anything.
I didn't want to get into acting just to play bystanders. I feel a bystander enough in my own life. And I do think that theatre can contribute to a certain analysis and commentary on our own world.
I gave my life to the Group Theatre, because in it I'm building something for myself. What I build, I am.
There's a tradition in British intellectual life of mocking any non-political force that gets involved in politics, especially within the sphere of the arts and the theatre.
When I'm doing theatre, I feel like my life's on hold. Even though you might go out for a coffee, or go and see a film, your brain is still there, pulling you back to it.
Because I like theatre and I love a challenge. With 'ZEBRA!' I've found a new Australian play where I can create a character first - that's what I live to do.
My mother asks when I will do some theatre, and there is something about getting your 15 minute call. That is what you become an actor for - performing in front of people and getting the love from the audience.
I know what I am able and not able to do. Fashion? OK. Fashion... clothes in theatre, in an opera, in a concert - all that I love. To make a movie myself... no!
Then I left school at 16 and worked in Perth Repertory Theatre, which was quite nearby where I lived. And I worked there for about six or seven months, as part of the stage crew.
