Across all Cinderella versions it was clear that the 21st century was not very much in evidence, particularly in the character of Cinderella so it seemed, it felt actually as though it hadn't been done for quite some time, not with the kind of lushness that we could do it with, with an absolute removal of the passivity of Cinderella and finding an amusing way, a lighthearted but significant way of making her proactive and not a girl who's life is about waiting for a bloke.
Hamlet and Victor Frankenstein are each obsessed with death. Hamlet's whole story is a philosophical preparation for death; Victor's is an intellectual refusal to accept it.
It's no accident that Cinderella has been in the culture for thousands of years, and in cross cultures. I've traveled a bit recently, and in Russia, they completely believe they own this tale. And in Italy, they feel it absolutely is part of who they are. There is a timeless web to it.
Helena Bonham-Carter and I sat down to talk about [Cinderella movie] and she said, 'I really want to do it but only one thing I insist on and that's wings.' She had to have wings and [costume designer] Sandy Powell didn't want wings to begin with but had to be talked around, but that was fun.