Obviously, the arrogance of my own nature in regards to other people's work would suggest that I think I'm talented.

It's an immensely competitive business, and I can tell you the older you get, the parts are fewer, and the people who are proven performers are greater.

We're all far too afraid of being so arrogant to say "Either you can or you can't."

Developing characters is a collective process, on one hand; it's an individual process on the other. The truth is rarely pure and never simple, as dear Oscar Wilde would say. A great of it, of course, is, you collect as much information as you can and then you put it into the mulberry of your mind and hope that you come up with a decent wine. Sometimes you do; sometimes you don't.

I've done lots of films with first directors, so it's not unusual for me.

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.

The director [Elfar Adalsteins] came to me through my agent and I had a read of the script [of the "Sailcloth]. I thought immediately this is someone who is writing for the cinema. Not having to go through the tedious business of taking something from literature and making that awful leap that is so difficult to make anyway, from literature to cinema. It's refreshing to be able to deal with a subject like that, to be written where the driving force is the image on screen and you don't need any words. The more that we can do that [in film], the better.