Kenneth Branagh, over martinis with Richard Clifford in
Trieste, Italy:

”Don’t you think,” I said, "that it would be incredibly useful for really fine actors who’ve played in the great Shakespearean plays to direct young actors in the same roles? I don’t necessarily mean stars. Nor do I mean a sort of piecemeal experiment. But if you had a real season where novice directors could have the comfort of each other and where the conditions were controlled enough to reduce their worries over the technical aspects, don’t you think one could make great developments in one’s acting?” 

Richard nodded. There was no stopping me now. I was well into my stride and my third martini. “ A season like that could develop new Shakespearean actors and directors, and which would consequently have a special quality. And it wouldn’t be done in London, in the glare of publicity, but it would be protected and performed, at least to begin with, in a place that deprived of such work. Then there’s the risk for both parties…” Richard tried to chip in with his approval, but I was already miles away thinking of people, places and plays. It
really was possible, I thought.

Later....

It was particularly odd to be facing Derek Jacobi across the lunch table. One of my original acting heroes, he had also encouraged me early on, and here I was attempting to offer him a job. The play I had in mind was Richard II…..

Derek did not jump at my idea. He felt that Richard II was far too demanding a role for sort of young actor I was thinking of, and, an important consideration in this case, it was not a “company” play- the women’s parts were poor and there was a lot of standing around for the other men….What then? Was there a Shakespeare that he did feel strongly about? There was, but he would only direct if I played the title role. It was
the play that he knew best of all, and the play he had the most to say about.

“You must be able to guess,” he said.

“No.”

“Hamlet.”

Christ. 

Ken Branagh, from Branagh's Beginnings, 1989, St. Martin's Press