The common misconception is that we create films for ourselves. And I really don't do it for myself. I get stopped in the street by people saying, "Do you mind if I say this about your work?" Do I mind? I'm delighted. I do it for you. It's not for me. It's my living, yes, sure.

I left drama school and went straight into a 10-week film for which I was paid £75 I might say, which for 1962 was one heck of a lot of money.

Bong Joon-ho is enormously sensitive to performance. He knows what he needs to see and that's all he needs to shoot. He is so daring. We don't do that in the west. We shoot everything.

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

I've done lots of films with first directors, so it's not unusual for me.

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.

Some directors involve waiting, and if you want to work with that particular director you're going to have to hang around.