In the not-for-profit world, I never felt that being female was an impediment. I was, however, given my break into commercial theatre by a female producer, Judy Craymer, and women - in particular, Donna Langley, president of production at Universal - were crucial in giving 'Mamma Mia' a home in Hollywood.

There's something about doing Shakespeare with a single gender, whether it is all-male or all-female, that opens up certain possibilities. You are able to throw the behavior of the men into a particular relief and be playful within a slightly larger-than-life way with it.

I think Margaret Thatcher was a superstar in this country, and I think we all felt we needed a superstar to play her, somebody of huge intelligence, passion, and power and warmth.

In management terms, directing opera certainly prepares you for a film set: the magnitude of it, the experts in other fields that you have to call on. Both are massive ensemble jobs in which there's incredible pressure to get things done on time and on budget - so much so that making the wrong decision may be better than making no decision at all.

One cannot wage war under present conditions without the support of public opinion, which is tremendously molded by the press and other forms of propaganda.

The forces that are driving mankind toward unity and peace are deep-seated and powerful. They are material and natural, as well as moral and intellectual.

It's hard to write a war story without thinking about the 'Iliad.' Because the 'Iliad' knows everything about war.

Peace, if it ever exists, will not be based on the fear of war but on the love of peace.