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I call it the trapeze factor. you go to the circus, you're in that space, she's in that space, on the trapeze. if she falls off that trapeze and breaks her neck, she's doing it in your space. i always say that in films, in movies, i aspire to the condition of theatre, in other words to the trapeze... to the tradition of trapeze, so that although the audience knows objectively that they're watching something on a two—dimensional screen, you are drawn into it, so that you really have that sense of reality. and i want my plays in the theatre to aspire to the condition of cinema, in the sense th...

Of creating organic work, basically. how do you regard theatre now, as somebody as somebody who is primarily regarded as a film—maker? well, i mean, it's... they're two sides of the experience really. i love film—making, i love everything about film, i love being out in the... making the heightened, distilled drama happen in real places. i love what you can do with film and apart from anything else, i love the way that film can be disseminated very widely. theatre is a whole different experience. it's in this closed place. but the audience experience of theatre is very important because yo...

Of theatre is very important because you're actually there, you know. i call it the trapeze factor. you go to the circus, you're in that space, she's in that space, on the trapeze. if she falls of that trapeze and breaks her neck, she's doing it in your space, you know. now, i always say that in films, in movies, i aspire to the condition of theatre, in other words, to the trapeze... to the tradition of trapeze, so that although the audience knows objectively that they're watching something on a two—dimensional screen, that you are drawn into it, so that you really have that sense of reality...

There, you know. i call it the trapeze factor. you go to the circus, you're in that space, she's in that space, on the trapeze. if she falls of that trapeze and breaks her neck, she's doing it in your space, you know. i always say that in films, in movies, i aspire to the condition of theatre, in other words to the trapeze... to the tradition of trapeze, so that although the audience knows objectively that they're watching something on a two—dimensional screen, you are drawn into it, so that you really have that sense of reality. and i want my plays in the theatre to aspire to the condition ...