I'm a very physical actor. I use everything - toes, teeth, ears, everything. I don't simply mean physical in the sense of movement and vigour. I find myself remembering the shape of a scene by how I'm standing, what I'm doing.

Always a bridesmaid never a bride my foot!

I found him perhaps the least terrifying man I've ever met in the theater—because at first glance I could see through him and he could see through me, and he knew that I knew that he knew. Look, love, I've been bullied all my life by bigger experts than Larry Olivier, I can assure you, and he's just got to get in line.

I'm a professional and I'll do anything - a poetry reading, television, cinema, anything that allows me to act.

The moment you start dividing thought and feeling, the ratio of sinitive from the intuitive, you're dead. There is no difference between emotion and thought. You can be unreasonable.

If I'm not at my study by 10:00, 10:30, forget it, I can't write a word.

In the theater you can chain a blue-assed baboon in the stalls and with a good script, good actors, and a good set you'd have what is called a production. With the cinema someone has to know about lenses and fine things. I have no time for the "auteur de cinema." To me, it's meaningless.