What I like about [Berthold] Brecht, it's very interesting. When Helene Weigel came over and somebody talked about Lotte Lenya and said "well, she wasn't alienating." And Weigel said "No, no, no. Why, Lotte Lenya was so true - who cares?" She said: "Berti only developed the theory of alienation in order to stop bad acting." I heard her say that. Now that's brilliant.

I am really the victim of other people's imagination.

We are all racing towards death. No matter how many great, intellectual conclusions we draw during our lives, we know they're all only man-made, like God. I begin to wonder where it all leads. What can you do, except do what you can do as best you know how.

Film has changed vastly in the time that I've been an actor, and it's, I think, very much for the better. I think there are just magnificent films now, and they're blossoming in the way that the novel did years ago.

There is always a better choice that you were unable to quite touch with a single stroke. Even in acting, there comes a point, like a painting, where you have to say, "That's it. I can't go any further with it." And sometimes, you say, "I'm really pleased that that's where it's finished up." Other times, you think, "I don't think I really quite got there, but I haven't got time to go any further." Rather reluctantly, you have to say "That's it."

[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.

The only concession you can make is to what you believe is right.