presence of the security guard in their home brings out an intense craving in each of the characters. Their various hungers -- artistic, sexual, spiritual -- form a network of needs. The meeting of Chris -- the security guard -- and the family causes a kind of slow motion explosion. A volatile chemical reaction that changes them all radically. I'm interested in the theatre as a kind of laboratory of the human psyche -- I want to get into close contact with people and what drives them. Their appetites. In the theatre, I want to experience the strangeness, complexity, and fragility of life. Every Breath is also a play about writing and that perhaps gives it a special atmosphere -- something hermetic -- a rarefied, perfumed air. The play works as a kind of fable too -- the pool they gather around might be a grotto in a cave, or the waters where Narcissus got lost in his own reflection, where the voice of Echo sounds for eternity. How is it to return to Sydney, and Belvoir, to direct your own play? I always enjoy returning to Belvoir Street. It is somewhere that informed my development as a director and where I have made several pieces that are dear to me. I love the theatre's special intimacy -- the exposed membrane between stage and audience, how the energy of a performance crackles there... I'm very pleased that Every Breath will come into the world there... It will be an interesting