I got the boot once from Stanley Donen. The film was called The Little Prince.

I would loathe to work on modern films.

I did a film called Dracula and it was very nice because I had lots of trips to New York on Concorde.

Richard Chamberlain on The Slipper and the Rose was lovely to work with. He wore the clothes so beautifully and sang his songs so well.

I liked Live and Let Die, where money was no object.

I saw a very good Hollywood film the other day. It was about Cole Porter.

That's another thing about today's stars that makes me glad that I'm not doing it any more. The stars come with ten people all around them. I don't know how you ever make any personal contact with them.

But with period clothes, people know less so they accept the pretty drawing that I give them.

I didn't know whether I wanted to be an actress or a singer then.

There are wonderful museums with lots of photographs of 1920's musicals.

When you look at Darling and the Oscars, it has to be luck. It was a black and white film and it was the last time that there was a black and white Oscar.

Sometimes the producer has more say and the director takes what he is given. On other occasions, you don't see the producer very much and the director is the one who it is all about.

I don't understand what modern clothes are about at all.

A lot of it, as it is in any job in life, is being in the right place at the right time.

I have to go back to my younger days, when I just adored Hollywood musicals.

John Schlesinger had one of his friends designing it and he had never done a film before. Ten days before it started, they didn't have any costumes. I was rung up and joined up.

I find shoestrings very hard work. I like big budgets.

I don't know much about football but everyone seems to say that it is all about possession.

With the black and white films, one was concerned with tone.

You are lucky that I can't sing tonight because I might get carried away.

God comes to us in theater in the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. It's a way of expressing our humanity.

The actors nowadays, both young men and young ladies, don't always wear their period clothes as well as they might. They tend to stomp around a bit in them.

I got the boot once from Stanley Donen. The film was called The Little Prince.

I liked The Slipper and the Rose, as I have already mentioned, because it was such a lovely film to do.

I fell in love with Dorset and ended up living there for a while.

You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.

It's nice when you work with someone who has an eye for clothes and will show what you've given them.

I really have a generation gap about modern clothes.

On the speech day, the production designer, who has a lot of say in things, and sometimes I didn't agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.

I wish we did have responsibility for the hair. I have been screwed up by the hair on many occasions.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.