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?'
I think that one of Tim's great qualities and abilities is in what seems like a thumbnail sketch to get something quite telling, very simply, when you're doing it or being in that thumbnail sketch, you don't feel that it's important.
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.
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.
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.
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.
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.
