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.

One wonders sometimes, looking at the world, how it's dealing with itself. There are days when you wake up and you feel very optimistic and there are days when you feel pessimistic.

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.

I think it's interesting to see how things come into and go out of fashion.

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.

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.

Once you've started to dig a hole, you can't get out of it.