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

I think it's interesting to see how things come into and go out of fashion.

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.

We all have our limitations.

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.

Acting is an imaginative leap, really. And imaginations prosper in different circumstances. And it's being able - I can't tell you how one does, but one tries to read those circumstances correctly.

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