It's a marvellous life, a gregarious life that we've had. We're very lucky in that way. Unlike writers or painters, we don't sit down in front of a blank canvas and say, 'How do I start? Where do I start?'
There might've been wires, but I have this ability to make myself light. Well you know what, in ballet, when you kind of lift yourself here, it's all up in the head.
To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.
Well, I've always thought that my career was in England, really. I used to do more in the theatre, and I felt that I should be there. It's not far is it? It's amazing the way that special FX have taken a quantum leap in what they're capable of doing.
We're given the springboard of the text, a plane ticket, told to report to Alabama, and there's a group of people all ready to make a film and it's a marvelous life.
He tells you stories, but then, after a while, when you want more, he doesn't give you more. He insists on this old elaboration, the old stories that never changes.
