"I finally got a look at the videotape of the show; I haven't seen it all the way through, but I saw all my own scenes --- and I was awful. I wanted to call the director and say 'Why didn't you tell me!' I could see the acting! Everything was artificial. I did have the best accent, but it was a strong accent, so whenever I slipped, it stuck out more obviously. I had no idea how bad I was!"
"I went through a couple of weeks there when I thought I'd never direct anything ever again. It was just that the vision I had of what the show could be never materialized. I was going for farce --- I realized we didn't have strong actors who could reproduce the original Broadway production --- but the energy just wasn't there. It wasn't till the last week-end, actually not till the final performance, that the pace was close to what I had in mind."
"It wasn't until opening night, when I sat in the audience and heard them getting the laughs, that I could relax. My whole approach could have been totally wrong. If I had run into you even the day before we opened, I'd have hesitated before asking for you to come. After the show opened, I wanted everyone to see it!"
"We found a lot of things in this script we never knew were there, but there's a lot more we still could do. I never give notes after opening night. It's their show then, and tinkering with something that only plays two or three week-ends could be destructive rather than constructive. But you're never finished. There's more there."
"I saw the same production you did, and so I thought that's how it should be played. So when he wanted a different take, we thought our director was wrong. But he's the director. And you know, he was right and we were wrong."
With friends like this, who needs critics?