I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.

I often say, with something like 'The Elephant Man,' had it been an American series for television, where you have to sign your life away for seven years...well, maybe I would never have made 'Sailcloth.'

The image onscreen takes you forward, it's the driving force of the piece and it's also the information that you're given.

Film has changed vastly in the time that I've been an actor, and it's, I think, very much for the better. I think there are just magnificent films now, and they're blossoming in the way that the novel did years ago.

I certainly don't see myself as Caligula.

Something like 'Alien,' that was not so easy. If there's any genre I wouldn't mind not having to do anymore, it would be science fiction. It's just all to do with the toys, and there's so much hanging around.

The director [Elfar Adalsteins] came to me through my agent and I had a read of the script [of the "Sailcloth]. I thought immediately this is someone who is writing for the cinema. Not having to go through the tedious business of taking something from literature and making that awful leap that is so difficult to make anyway, from literature to cinema. It's refreshing to be able to deal with a subject like that, to be written where the driving force is the image on screen and you don't need any words. The more that we can do that [in film], the better.