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.
John HurtWe 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.
John HurtI 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.
John HurtI put everything I can into the mulberry of my mind and hope that it is going to ferment and make a decent wine. How that process happens, I'm sorry to tell you I can't describe.
John HurtIt's quite a dangerous career move to go wilfully on making films that may not find a distributor.
John Hurt