If I'm in theatre, cinema doesn't even cross my mind. Similarly when I'm making a film, theatre doesn't cross my mind.

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.

I stopped asking a long time ago, "why would you want me to play that?" I'm an actor. That's what I do.

Very, very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons. It's a great relief to feel that you're working with someone rather than for someone. You don't feel that you're being tested, as it were.

We are all racing towards death. No matter how many great, intellectual conclusions we draw during our lives, we know they're all only man-made, like God. I begin to wonder where it all leads. What can you do, except do what you can do as best you know how.

This whole theory of alienation that intellectuals have been passing on, really is just to stop a lot of ham acting. If you fill something with a proper emotion, it didn't worry him at all.

I put everything I can into the mulberry of my mind and hope that it is going to ferment and make a decent wine. How that process happens, I'm sorry to tell you I can't describe.