I don't really think about a visual aspect to the work at all; I just think about making the piece. And everything that occurs visually comes out of the subject matter you are dealing with so that I find it difficult to treat the visual element as a separate entity.
From Simon McBurney
I try to push a single idea to its absolute limit. So for all of those ideas that existed in the story, you attempt to find a physical realisation in the space.
I don't recall making a conscious decision to become an actor. I just remember winning a prize at a theatre festival when I was 17 and saying: 'Oh, that's what I have to do.'
My experience of my father's death was that it was still taboo; nobody would meet me after my father died because they didn't know what to say.
In Japan, sometimes it's hard to know what you are looking at.
I don't have what German directors call 'a concept' - a solid, fixed sense of the pattern that you should impose on the given work. I always get the feeling that I am raking up the earth rather than laying down the concrete.
The very beautiful and very touching thing about opera singers is they are very willing to do whatever you want. Unlike actors, who constantly want to know why they're doing something, opera singers will sort of follow you into the fires of hell.
My parents loved classical music. And my father adored Mozart. But for some reason, I always had a reaction against it.
Mozart makes us care about people in flashes of lightning.
Haunted since the day its discovery was projected all over the world in 1994, I, like many others, have always wanted to see inside the Chauvet cave, site of the world's earliest known cave art. Quite rightly, we will never go. It is closed to the public.
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