[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 felt, you know, body and soul, as it were. But, of course, I mean, I - at that age, I didn't think in terms of being professional. I didn't know anything about it. That happened later.

When you're really working well with a director then you can be as outrageous as you like and so can he. And there's no worry about it.

Snowpiercer has both [optimistic and pessimistic]. It was essentially optimistic. The most pessimistic was my part, because of his knowledge. He knows how it started. The status quo, he knows, has to be maintained, otherwise there is no chance. He knows that this revolution is completely understandable and is also commendable. He also knows the negatives. In the end, that's not a very positive position to be in.

The image onscreen takes you forward, it's the driving force of the piece and it's also the information that you're given.

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

I'm besotted by [Kirsten Dunst] now. I think she's just wonderful. I can't think for a second that however much she'd worked in America, she would never have had the chance to play [a role in Lars Von Trier's 'Melancholia' ] like that. You have to get outside of the States to do something like that.