A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.
Trevor Nunn
2
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.
Trevor Nunn
3
I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
Trevor Nunn
4
I love to have as much input as possible.
Trevor Nunn
5
I so wanted to perform, and I grasped every opportunity.
Trevor Nunn
6
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.
Trevor Nunn
7
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.
Trevor Nunn
8
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.
Trevor Nunn
9
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.
Trevor Nunn
10
If you feel very deeply about something, it's not possible to sacrifice your integrity about that.
Trevor Nunn
11
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.
Trevor Nunn
12
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.
Trevor Nunn
13
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.
Trevor Nunn
14
One fine day I discovered that more complex plays really have to be directed.
Trevor Nunn
15
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.
Trevor Nunn
16
So I grew up in an area where it wasn't expected that I would have a kind of scholastic career, or go to grammar school, or anything like that.
Trevor Nunn
17
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.
Trevor Nunn
18
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.
Trevor Nunn
19
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.
Trevor Nunn
20
Trying to get work and life in balance is the most difficult thing. I have that knowledge now, but it was a setback at the time.
Trevor Nunn
21
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.
Trevor Nunn
22
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.
Trevor Nunn
23
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.
Trevor Nunn
