Stephen Daldry Quotes

The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.

You have to trust your own instincts about what is appropriate and what is not appropriate and trust your own feelings about what you can and can't show for yourself, and it'll be different for everybody.

I love changing. I hate it when people try to box me in to a relationship or in a work context. Any situation where I feel boxed in freaks me out. And I feel the need to reinvent myself or I'll get bored.

Every now and then I have to teach directing. The thing about the theatre is that the most important thing you can do as a director is to make sure that everybody is in the same world - you have to create the world and make sure everyone buys into it.

I love test screenings. Some directors don't, I know. But I love it. I think it's because I come from the theatre and in the theatre, previews are where you really have to listen to the audience and really feel how they're responding. I found our test screenings incredibly useful.

One of the great joys of my job is that you spend a huge amount of time investigating different areas of literature.

Most theater methodology is predicated on the idea of repeated actions. That's what you work toward. Having the actor repeat the same moment eight times a week. In a film, it's getting that one moment right.

I've never been to Hollywood. I can count the number of times I've been to Los Angeles on my hands. I've never made a movie there and I've never been there for working reasons. The only reason to go there is for silly awards shows.

I have never been motivated by money in my life. You can't make choices based on what the financial return might be.

I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.

I'm a theatre person, that's who I am. I'm happy to make sojourns into the world of movies but I'm basically a theatre director that potters off and does a couple of movies.

The truth of the matter is, every film is imperfect. It's the nature of the beast. One of the things that people ask me all the time is, what's the difference between theater and film, and one of the biggest differences is, in the theater you always get another go.

England is strictly class-based. What's surprising is how many films are still made with a load of people in silly frocks running around gardens and talking in middle-class accents.

There are a few writers that one has a relationship with that means, basically, you do whatever they say. One is Caryl Churchill, and the other is David Hare.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

The culturally specific, in particular, the American porch play that American writers have cherished and loved for many years in terms of their new writing, has seemed to have very little relevance to a much more fast-flowing, abstract, experimental drama that has been emerging in [the UK]. The porch play, not to mention that thing of, Oops, I wasn't loved enough by my father, somehow didn't have the relevance in this country.

Actually, to be honest, this is a useful time to not be knowing what I'll be doing in 2013 or 2014, because really, for the last however many years, I've known what I've been doing for years and years ahead. You get into a cycle of non-reflection, and that gets a bit scary.

You go through a process of refinement and getting rid of the excesses of your early youth in terms of your excitement about what theatre can do.

When I got married, my mother was very surprised. She said: What on earth is going on? I thought you were gay?

They're a redefinition of boredom... the most important thing you need to know about an awards show is where is the nearest smoking opportunity.

The great fun of doing new plays is that people have no idea what's going to happen next. That goes quite soon, as people start talking about it, and the only way you can keep hold of that is genuinely to keep changing it.

I am, in fact, Superman. Every morning I wake up and go into a telephone booth and change my costume, and then go to work.

I always say, 'I really need to take a break.' It's three days in and I'm getting pretty bored.

As soon as I know how to do something, I usually get bored with it.

Well, there are three different processes of making a film, of course. They're sort of re-written three times. You write it to start with, and then you shoot it and you re-write it while shooting and you sort of re-write it as you edit.