The records - what little we know about Shakespeare, including the records of the plays in his playhouse - were often the story of how quickly they came off if they didn't work. They had to move on. They were absolutely led by box office.
My experience of great storytelling, working with classics, is just finding a way to present it simply but let the story do its own work, or be an invite to the audience's imagination.
I think that Shakespeare himself raided fairy tales and chronicle writers, and he always looked to people who worked in the mythic genres, whether it was folk tales or popular novels.
What you want is the opportunity to work and an audience. Prizes after that are just a great big bonus.
I think television goes through phases, like other creative arts, where suddenly a group of people are producing exciting work all at once.
At the end of every stage performance, the audience all applaud me for doing my job, but I have friends who work in offices who don't get that.
Lighten up, just enjoy life, smile more, laugh more, and don't get so worked up about things.
I've heard from quite a few people, you sense that there is an ownership of the [ Cinderella], it was so personal for so many people, so I was interested in trying to work out why that was.