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.

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

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

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

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.

Obviously, the arrogance of my own nature in regards to other people's work would suggest that I think I'm talented.

I am really the victim of other people's imagination.