I MUST HAVE WORKED WITH THOUSANDS OF ACTORS OVER the years and they are an amazing bunch of people. I would like to mention them all by name, but that’s impossible, of course. So here are a few of the actors who have made me sit up, listen and want to be like them:

Philip Voss, who made me understand the difference between amateur and professional acting when he shouted ‘Zounds’ as the dying Mercutio (Ipswich Arts Theatre, 1963).

Chris Crooks, my drama school (and life-long) buddy whose camel was legendary. As was his Hamlet (Central School of Speech and Drama, 1967–69, and The Century Theatre, 1971).

Ian Richardson, whose passion, voice and commitment to performing enthralled me and audiences alike (Royal Shakespeare Company, 1972).

Lawrence Werber, strong, steadfast and honorable both as a friend and as an actor (Phoebus Cart, 1991).

And Mark Rylance, who has stunned a whole generation of actors and theatregoers (Phoebus Cart and Sonnet Walks, 1990s).

Also, I’ve got to mention my kids, Nick and Katie, who had to grow up with an actor dad. ‘What does your father do for a living?’ asked a teacher. ‘He goes for interviews,’ said Katie. Neither Nick nor Katie ever wanted to go on the stage or anywhere near it! (Although Nick likes to build film sets.)

Finally, never-ending thanks to Nick Hern for his rigorous (but always apposite) editorial comments; Matt Applewhite for conversations and advice, and without whom this book wouldn’t exist; Jodi Gray for making the pages look great; and to all the rest of the people at Nick Hern Books for their various book-publishing talents and friendly faces.

John Abbott