The way I've described Helen's sort of rigorous honesty I just think he also has tremendously. It's very strange... he just has this sort of way of making it happen really. You're not really aware of being directed, so much as being a part of this thing.

If you're playing someone who's got marital problems, you have to play someone who's trying not to have marital problems. So, you've got to get into the problem first.

There's a paraphrase about Orson Welles saying: "Great films are made by great directors and the rest are made by everyone else." I've been very lucky... before I start insulting the profession of directing, but I think a good director is everything and a bad director really is nothing at all.

I don't know if this qualifies as gentle reassurance, but right now this is all that stands between me and a Harley-Davidson.

But this is where you get all the market research and things get in danger of becoming formulaic, and where you depend on brands and getting recognised actors. It's the thing that precludes risk very often, otherwise everyone would be avant-garde all over the place.

I love you even when you're sick and look disgusting.

What infuriates me is that in America violence is judged in context, whereas language is not. So with language there is an arithmetic that says: one f*** is a PG 13, two f***s is an R. They don't say: one bullet through one head is a PG 13, two bullets through more than two heads is an R.