We shot ['Sailcloth'] five days down in Cornwall, and you couldn't have asked for a more beautiful place. It was a couple of tough days at sea, but when I say tough it was still enjoyable.

You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.

Each day, as you get older, there is a new perspective on life. It's a progression of some sort.

You can see areas where maybe you got a bit lazy, perhaps, or you see when you were really on form. I think an actor is very like a sportsman in that respect. You have periods where you're in terrific form.

If I hadn't been a part of [Harry Potter] I would have been deeply upset.

[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.

I was keen on sports-that's how my nose got this way. It's not actually broken; the nose was just pushed up a little bit and moved over. It's an aquiline nose, quite Irish.