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My blood... ..my daughter. you know, it's not eight months yet since he left. i don't feel he's somehow sitting on a cloud somewhere. but i do feel, you know, during the rehearsals for richard iii, for instance, a play that he had his fingerprints all over, i did feel him sitting like a bad prosthetic hump on my shoulder, sort of urging me to try harder, to explore deeper, to accept nothing but the best, which is... which, in a way, is his legacy, and i hope something of our legacy together. but, yes, i... he was my... he was my all—the—world. here's what he said about you and shakespeare....

With people underestimating him. deformed, unfinish'd, sent before my time into this breathing world, scarce half made up, and that so lamely made up, and that so lamely and unfashionable that dogs bark at me as i halt by them! whyl...? nor would i say that it is no longer possible for non—disabled actors to play richard iii. but what i would say is what he brings from his lived experience is something very particular. nor would i say that i think you have to have adolescent—onset idiopathic scoliosis, which is what we know richard has, because we found it in the car park. nor do i think w...

Or her less inclined to be interested in william shakespeare. of course, i'm generalising massively, but the culture has changed. it has. and does it make it more difficult to connect to shakespeare? we constantly look at what it is that is engaging people now. so, you know, the digital aspect has become very, very important. i did a production of the tempest, shakespeare's most magical play, and i remember saying to my team, "look, "in shakespeare's day, he was using high tech." he was using the technology available for the jacobean masques, which included lighting effects and stage machinery...

And i think that is the... for me, that's always been the starting point, that i'm directing my production to the 13—year—old boy i was sitting up there in the gods in 1973, and to me that is a constant refresher. and to me, that is a constant refresher. i mean, i think there are times when a company like this, the danger is that it becomes a treadmill. and it's, "if it's tuesday, it must be as you like it." and you've got to get rid of that and make sure that each play is an event, whether that's because of the casting or the idea behind the production or the conversation with other produ...