"[On preparing the play My Name Is Rachel Corrie with Alan Rickman] But the quantity of the material left us with a series of questions. How much of Rachel’s life before she went to Gaza should we include? And should we quote other people? The trend in political theatre, from David Hare’s The Permanent Way to Victoria Brittain and Gillian Slovo’s Guantánamo, is journalistic: the use of testimony, of interviews and on-the-record material rather than invention. But for us there could be no re-interviewing to fill in the gaps. We had a finite amount of words to work with, as Rachel was dead. I was very keen to use some of the emails that Rachel’s parents, Cindy and Craig, sent to their daughter while she was in Gaza. They are full of the kind of worries any parent might have if their child was in a dangerous situation, but because Rachel never came home, they have a devastating poignancy. ... And what about the voices of Rachel’s friends? I interviewed many fellow ISM activists, most of whom have been deported from Israel since her death. We watched tapes of two of the moving memorial services: one in Gaza, which was shot at by the Israeli army, another in Olympia. We viewed documentaries on the subject, most notably Sandra Jordan’s powerful The Killing Zone, and considered using video grabs. But in the end the power of Rachel’s writing meant that, apart from a few short passages quoting her parents and an eye witness report of her death, her words were strong enough to stand alone."