I especially love my Moto Guzzi.

Everyone has to understand what we're saying to one another and there's no point in me thinking the line means this and the person I'm speaking to thinks it means something else. So there's a certain amount of analyzing of text that's of course necessary.

I can't know what I'm going to do before I'm in front of the lens. And I think that sort of makes it exciting.

I especially love my Moto Guzzi.

I have worked with a lot of great directors but my favorites are all entirely different from one another. They don't go about it the same way.

Actors don't like to read what they're supposed to do.

There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.