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.

It's an immensely competitive business, and I can tell you the older you get, the parts are fewer, and the people who are proven performers are greater.

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

The common misconception is that we create films for ourselves. And I really don't do it for myself. I get stopped in the street by people saying, "Do you mind if I say this about your work?" Do I mind? I'm delighted. I do it for you. It's not for me. It's my living, yes, sure.

I never quite understand why we watch the news. There doesn't really seem much point watching somebody tell you what the news is when you could quite easily listen to it on the radio...

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.

The clergy is in the same business as actors, just a different department.