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 it's a low-brow bawdy comedy, it's got to stand the chance of succeeding as such. If it's an intellectual piece, a drama, and so forth. And of course, once you've determined the level of the piece, do it the best you know how. And then don't make concessions. To audiences, or to pursestrings, or whatever.

I've got plenty of train memories. I was sent to school when I was eight years old in 1948 in Kent. So I had to go through London in 1948, just after the war. Many ,many strange experiences.

It's amazing how quickly human beings adapt, isn't it? It was such a great crew, and David [Lynch] was wonderful to work with [on 'The Elephant Man']. It was a very thrilling time, actually.

Elephant Man [movie] was much more difficult physically. This had a couple of days. It was quite tricky. I had my leg strapped up behind me and I am a little older now. It was all marvelous, though. He [Bong Joon-ho] is one of the most fabulous directors in the world.

The great joke is that a realist is an optimistic pessimist. That's very witty. Whether it's truthful or not, that I don't know.

I remember once when I told Lindsay Anderson at a party that acting was just a sophisticated way of playing cowboys and Indians he almost had a fit.