I think I'd rather do [acting] in the real place. It requires different things, working with green screen, but its an imaginative exercise anyway, the whole business of acting, so it just gives you a bit more to feed the imagination. Unless it's really silly, just two of you stuck in a space with nothing but green screen that's got to be pretty difficult.

If you put on an Oscar Wilde [play], it will interest those who are interested in Oscar Wilde. But it won't interest anybody else, because they won't get that wit.

Life is full of ironies and paradoxes.

I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.

If you've got a great crew it's intense, but its quite short. 'The Elephant Man' was longer than most, for an independent film. That was a 14 week film. But it was because of the intrinsic difficulties. We had to invent a different way of filming, because the makeup was so long. A working day for me with a full makeup on was nineteen hours. So obviously you couldn't do that twice running.

You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.

I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.