Society is constantly recalibrating, redefining what it considers to be moral and immoral.

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.

Lotte Lenya was all emotion. She wasn't anything but emotion. She was not an intellectual.

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.

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.

I do what interests me when I'm invited and do it as well as I know how and try to get better. That's all.

Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script.