Trevor Nunn, an English director, is celebrated for his groundbreaking work in the world of theater and film. From his acclaimed productions of Shakespearean classics to his innovative adaptations of modern plays and musicals, Nunn has demonstrated a remarkable versatility and creativity throughout his career. His visionary approach to storytelling and his ability to bring characters and worlds to life on stage have earned him widespread acclaim and numerous awards.

"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."

"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."

"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."

"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."

"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."

"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."

"A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature."

"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."

"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."

"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."

"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."

"I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience."

"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."

"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."