The big problem with literature is people tend to take the dialogue from the book, forgetting that everything that surrounds it is literate, therefore not knowing quite how to put that on screen.

I've done lots of films with first directors, so it's not unusual for me.

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.

The only concession you can make is to what you believe is right.

We are all racing towards death. No matter how many great, intellectual conclusions we draw during our lives, we know they're all only man-made, like God. I begin to wonder where it all leads. What can you do, except do what you can do as best you know how.

By the very nature of being a clergyman's son, people tend to put you slightly apart, which is - you tend to live a life, at some stages, as being - people being suspicious of you and puts you rather on a - I don't mean lonely, particularly. But it does tend to put you apart.

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.