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.

Snowpiercer has both [optimistic and pessimistic]. It was essentially optimistic. The most pessimistic was my part, because of his knowledge. He knows how it started. The status quo, he knows, has to be maintained, otherwise there is no chance. He knows that this revolution is completely understandable and is also commendable. He also knows the negatives. In the end, that's not a very positive position to be in.

Lotte Lenya was all emotion. She wasn't anything but emotion. She was not an intellectual.

I think you can fan the flames, but I think in the same way that a mathematician is a mathematician - He's not taught to be a mathematician. He either has a feeling for equations and an understanding and delight in it, not only in the purity of it, but in its beauty as well.

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.

It's quite a dangerous career move to go wilfully on making films that may not find a distributor.

We shot ['Sailcloth'] five days down in Cornwall, and you couldn't have asked for a more beautiful place. It was a couple of tough days at sea, but when I say tough it was still enjoyable.