I stopped asking a long time ago, "why would you want me to play that?" I'm an actor. That's what I do.

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

This whole theory of alienation that intellectuals have been passing on, really is just to stop a lot of ham acting. If you fill something with a proper emotion, it didn't worry him at all.

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.

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.'

There is always a better choice that you were unable to quite touch with a single stroke. Even in acting, there comes a point, like a painting, where you have to say, "That's it. I can't go any further with it." And sometimes, you say, "I'm really pleased that that's where it's finished up." Other times, you think, "I don't think I really quite got there, but I haven't got time to go any further." Rather reluctantly, you have to say "That's it."

I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.