I left drama school and went straight into a 10-week film for which I was paid £75 I might say, which for 1962 was one heck of a lot of money.

With [Fred] Zinnemann I did A Man For All Seasons. He was my screen godfather. I'm happy to say he was.

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 think [ Lars Von Trier] is a fantastic filmmaker. No question. You've got to be ready for him. He's sharp and he's got a sharp tongue and I love that. He doesn't mind it back.

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

In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.

We all have our limitations.