I think Julianne Moore is very, very good. I've worked with her. We did Surviving Picasso. I remember one scene we did together. She had to have a nervous, a mental, breakdown in this one scene. I didn't have many lines. I just had to make sure I knew I came in on cue all right. And I was just watching her walking though the rehearsal. I thought I know what she's doing, "This is going to be terrific." So they said, "Are you ready" and she said, "Yeah," "Ok, roll the camera." And all in one take.

I've had no ­contact with my daughter for years. That's her choice. Anyway, you move on. If people don't want to bother with me, fine. You know, God bless them, and move on.

I come from - I came from Wales, and it's a strong, butch society. We were in the war and all that. People didn't waste time feeling sorry for themselves. You had to get on with it. So my credo is get on with it. I don't waste time being soft. I'm not cold, but I don't like being, wasting my time with - life's too short.

I don't have a vast longing for the stage.

I still don't know what the film was about because all I remember is a whole lot of technical dialogue about a body in a suitcase.

I would like to go back to Wales. I'm obsessed with my childhood and at least three times a week dream I am back there.

That's what happens if you don't address the darkness in you. You become repressed and depressed and suicidal.