Scott Ellis quotes:

Being a twin, and knowing if my twin was gone or lost - that's a part of me. There's no way I could be the same person knowing my brother had passed away.

My first time ever on the Tony Awards was in 1984, the year of 'The Rink.'

Twelve Angry Men' was done with an intermission, and I took that out. I really wanted an audience to feel like they had no break, just like those jurors, and you're not going to get out of that room until you come to a decision.

The night before 'The Elephant Man' opened, we had a sleepover for 12 kids. Being organized is the key.

You can't live like a monk if you have two five-year-old twins. That ain't happening. Just the opposite, actually.

I get to choose the people I work with.

Casting, to me, is always the same. It's a very important part of a director's job. I pick people that I sense I'd like to be in a room with and will enjoy the rehearsal process with because that's the best part.

The theatre show-biz types don't change much, no matter what era we're in. The question of how you balance being in show business with your personal life isn't very different.

I'm big on research. I love research, so I tend to do a lot of reading.

After raising twins, you get organized.

The challenge of a revival is how to bring something fresh. The reward is the opportunity to add different flourishes. You're dealing with different actors, designers and a different time.

Actors are smart. They have to feel safe enough to fall and to get back up. My job is to make sure they don't get hurt.

I feel that once you go into rehearsal, you need to focus on the show in the room.

My directing style has changed over the years. I allow things to breathe a lot more.

A bad laugh is a laugh for the sake of a laugh that's out of character.

When you're working on a play like 'Sloane,' that play works; you don't have to worry about that. When you're working on a new play like 'Little Dog,' you have no clue if the play works. You're exploring.

Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.