I mean, there's little enough in this life, really, and you only find it worth living for the odd moments, and if you think you're going to have those odd moments again, then it makes life wonderful and have a meaning.
It's those moments, those odd moments that you look for and sometimes by creating this kind of loose atmosphere you find those little moments that somehow mean a lot to an audience when they really register right.
In some situations I was difficult, in odd moments impossible, in rare moments loathsome, but at my best unapproachably great.
I am probably the only actor who came from television serials to films and was able to work in films this long. Of the 75-odd films I've done, in around 40 of them, I've been the hero.
When you're working with people you've seen in hundreds of films... it's a bit crazy to step outside yourself for a minute and think, 'This is surreal.' But I try not to get too bogged down in that.
There where hundreds of graves. There where hundreds of women. There were hundreds of daughters. There were hundreds of sons. And hundreds upon hundreds upon thousands of candles. The whole graveyard was one swarm of candleshine as if a population of fireflies had heard of a Grand Conglomeration and had flown here to settle in and flame upon the stones and light the brown faces and the dark eyes and the black hair.
I've always been interested in shaping music in odd ways, with odd riffs and that's been probably something that I've continued on with my studies with improvisation as I'm working with people.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
I've been very lucky in my long life. On three continents, in diverse cultures, through happy moments, not-so-happy moments, and moments as marvelous as this one, I've had the privilege of working with the cinema's greatest masters.
I find it difficult to write with reference to the most memorable moments in film, when for me the best moments in films are truly irreducible.
The message films that try to be message films always fail. Likewise with documentaries. The documentaries that work best are the ones that eschew a simple message for an odd angle. I found that one of the most spectacular films about the Middle East was 'Waltz With Bashir,' or 'The Gatekeepers,' or '5 Broken Cameras.'
Growing up, I was on film sets occasionally, when my dad was acting, so I got to run around and do odd jobs on films like 'Labyrinth' and others... I seemed destined to make films.
There is so much work to working that there are moments, moments, where I stop and look around, and it seems too arduous to go on. It isn't, of course.
I think films would get a lot better if people paid leaving the cinema. There's a whole business plan of opening terrible films in hundreds of cinemas and then closing them when the word of mouth gets out.
One day, I read an extremely vague ad looking for someone interested in working in film. Seeing as I loved watching films, I replied, and I found myself working for this guy who did his own personal editing of scenes from Antonioni and Fellini films.
There are moments of high mood, there are moments of low mood, there are moments of injury, there are moments of strength, there are moments of progress, there are moments of stagnation. All we can do is keep on pushing.