Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script.

What I like about [Berthold] Brecht, it's very interesting. When Helene Weigel came over and somebody talked about Lotte Lenya and said "well, she wasn't alienating." And Weigel said "No, no, no. Why, Lotte Lenya was so true - who cares?" She said: "Berti only developed the theory of alienation in order to stop bad acting." I heard her say that. Now that's brilliant.

You have to learn to cut your cloth accordingly. But it seems to be a human weakness. Once you start making a lot of money, you just join in with everyone else. It's like the banks, and we've seen what happens there.

There are certain people that when they ask you to do a film, you just say, "Where and when?"

I think I'd rather do [acting] in the real place. It requires different things, working with green screen, but its an imaginative exercise anyway, the whole business of acting, so it just gives you a bit more to feed the imagination. Unless it's really silly, just two of you stuck in a space with nothing but green screen that's got to be pretty difficult.

I felt, you know, body and soul, as it were. But, of course, I mean, I - at that age, I didn't think in terms of being professional. I didn't know anything about it. That happened later.

In the end, the game is the same. Football is still football. Now, they may play with different formations, they may have a different idea of training, but the game doesn't alter. I don't mind how any performer - indeed, why should I? How arrogant of me if I did? - manages to get to what they have to get to. It doesn't matter how you get there, as long as it isn't going to destroy other people on the way.