Once you've started to dig a hole, you can't get out of it.

I never had any ambition to be a star, or whatever it is called, and I'm still embarrassed at the word.

You collect as much information as you can and then you put it into the mulberry of your mind and hope that you come up with a decent wine. Sometimes you do; sometimes you don't.

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.

We shot ['Sailcloth'] five days down in Cornwall, and you couldn't have asked for a more beautiful place. It was a couple of tough days at sea, but when I say tough it was still enjoyable.

I wanted to work with those boys (producers Andy and Larry Wachowski) because they're so eccentric and peculiar. Larry, of course, is halfway towards being a woman now. It's a crazy world.

My springboard is always the script. Even if the script is taken from a novel, I often haven't read the novel...