When you're really working well with a director then you can be as outrageous as you like and so can he. And there's no worry about it.

I am not an enormous believer in research being the be-all and end-all. I get suspicious when I read about actors spending six months in a clinic, say, in order to play someone who is sick.

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.

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.

People say you never retire in this [film] business and I say, well, not until they retire you.

Acting is an imaginative leap, really, isn't it? 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.

I think an actor is very like a sportsman. You have periods where you're in terrific form. Everything you touch seems to work, and come right. And other times, when you're working really hard, it's okay, but it isn't scintillating.