We will always want films ... that basically are centred on young people, because young people is the way we live on, we older people, insofar as we live on.

You can't do what you've been asked to do unless you do the best you can. And roughly speaking, the best you can do is to be very available as a character and actor to the people you're acting with. That's equally important, whether the camera's on the other person or on you.

There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.

What a script says that isn't dialogue is as important as the spoken word.

The great writers like Chekhov know that tragedy and laughter are just a few steps from each other ... but it took me a long time as an actress to learn that. Actually Arthur Miller taught me in the Seventies. We were making a CBS TV drama of his play Playing for Time about Auschwitz but the characters were laughing. It was a big insight for me to realise that that was what's called gallows humour, in this case worse than the gallows, that humans need to laugh and make jokes in order to survive.

Integrity is so perishable in the summer months of success.

A conservative frame of mind is very limiting for an actor, and a human being, too.