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

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.

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.

'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.

Elephant Man [movie] was much more difficult physically. This had a couple of days. It was quite tricky. I had my leg strapped up behind me and I am a little older now. It was all marvelous, though. He [Bong Joon-ho] is one of the most fabulous directors in the world.

If you put on an Oscar Wilde [play], it will interest those who are interested in Oscar Wilde. But it won't interest anybody else, because they won't get that wit.

There are certain people that when they ask you to do a film, you just say, "Where and when?"