I don't like no confusion.

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 amazing how quickly human beings adapt, isn't it? It was such a great crew, and David [Lynch] was wonderful to work with [on 'The Elephant Man']. It was a very thrilling time, actually.

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 wanted to work with those boys (producers Andy and Larry Wachowski) because they're so eccentric and peculiar. Larry, of course, is halfway towards being a woman now. It's a crazy world.

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.

People say you never retire in this [film] business and I say, well, not until they retire you.