Trevor Nunn Quotes
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.
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.
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.
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.
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 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.
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.
Soundbite and slogan, strapline and headline, at every turn we meet hyperbole. The soaring inflation of the English language is more urgently in need of control than the economic variety.
If you feel very deeply about something, it's not possible to sacrifice your integrity about that.
A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.
I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
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.