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 turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.

I think an actor is very like a sportsman. You have periods where you're in terrific form. Everything you touch seems to work, and come right. And other times, when you're working really hard, it's okay, but it isn't scintillating.

It's a great relief to feel that you're working with someone rather than for someone. You don't feel that you're being tested, as it were.

I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.

It's quite a dangerous career move to go wilfully on making films that may not find a distributor.

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