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.

There is always a better choice that you were unable to quite touch with a single stroke. Even in acting, there comes a point, like a painting, where you have to say, "That's it. I can't go any further with it." And sometimes, you say, "I'm really pleased that that's where it's finished up." Other times, you think, "I don't think I really quite got there, but I haven't got time to go any further." Rather reluctantly, you have to say "That's it."

[Bong Joon-ho'] is quite different but technically, he is as clever as [Alfred] Hitchcock. That's saying something. In humanitarian terms, I think he is much cleverer. He is one of the best directors I've worked with. I absolutely adore working with him.

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

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.

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.

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.