If you listen, you learn; if you talk, you don't.

If you do an interview in 1960, something it's bound to change by the year 2000. And if it doesn't, then there's something drastically wrong.

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.

I've never done a [Berthold] Brecht. In the 1960s when the Berliner Ensemble came over [to England] with Helene Weigel [Brecht's second wife], I saw all the Berlin actors. It was an amazing time, very exciting early 1960s.

I've never known what I've wanted to do. I've never planned anything in my life.

I am not an enormous believer in research being the be-all and end-all. I get suspicious when I read about actors spending six months in a clinic, say, in order to play someone who is sick.

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