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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
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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.
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When I was 13 years old, a professional theater company in my town needed a kid actor. I auditioned, and I got the part, so for just a few weeks I became a member of the company and I met some professional actors.
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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.
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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.
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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.
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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.
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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.
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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.
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One fine day I discovered that more complex plays really have to be directed.
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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.
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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.
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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.
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