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."

This whole theory of alienation that intellectuals have been passing on, really is just to stop a lot of ham acting. If you fill something with a proper emotion, it didn't worry him at all.

'The Elephant Man' was hugely enjoyable to do. I thought the one stage, when Chris Tucker did the first makeup and it took 12 hours, I thought they'd actually found a way for me not to enjoy filming.

From John Huston to Fred Zinnemann and Richard Fleischer and all those great American directors.

I'm not interested in awards. I never have been. I don't think they are important. Don't get me wrong, if somebody gives me a prize, I thank them as gratefully as I know how, because it's very nice to be given a prize. But I don't think that awards ought to be sought. It encourages our business to be competitive in absolutely the wrong way. We're not sportsmen; we're not trying to come in first.

Acting is an imaginative leap, really, isn't it? And imaginations prosper in different circumstances. And it's being able - I can't tell you how one does, but one tries to read those circumstances correctly.

If you do an interview in 1960, something it's bound to change by the year 2000. And if it doesn't, then there's something drastically wrong.