I was shaped by the heroes in the films I saw, which you always want to emulate and be like. I wanted to be like Alan Ladd, Gary Cooper, Jimmy Stewart.
When you make an exploitation film, you always want to have a real issue. That's how they were always done.
In film, you're always using your tools, your body, your voice, your emotions, but onstage, you use them in a different way.
I don't understand it, but every horror film is huge. I would consider one, but I don't know if my heart would be in it.
If my British film career was a girl, then I'd been hanging around outside her apartment a little bit too long.
I turned down a lot of things that were so-called commercial. You're coming out of one film, and then they want you to be in the same one.
I'm a huge fan of Richard Curtis - there's real grief, real compassion in his films as well as cheekiness; it's a wonderful cocktail.
Working with Woody Allen is like filming Howard Hughes's will. It's a very mysterious and strange event. You never get a peek at the whole will.
People figure because I'm blonde and was a model, I just waltzed into Los Angeles and got major roles in major films.
I was absolutely obsessed with the Titanic - not the film, the actual boat. I'd draw diagrams about it and theorise that if it was built in a different way, it wouldn't have sunk.
To make independent films, you can't think about them too much, ponder on them too much, get overwhelmed by the enormity of it.
I would rather do many small roles on TV, stage or film than one blockbuster that made me rich but had no acting.
Only very rarely are foreigners or first-generation immigrants allowed to be nice people in American films. Those with an accent are bad guys.
In this film, we took a helicopter up and showed London as a vista, which is not very often done.
I've always dreamed that George Lucas would call me one day and ask me to be in one of the 'Star Wars' films.
I loved films of the '70s with those antihero protagonists who you don't know if you can get behind because their behavior is really questionable.
I mean they're making remakes of my films and I'm not even dead yet! Why would you want to make a remake?
As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.
I'm more embarrassed about some of the films that I've been in than I am about Playboy. Playboy I'm actually quite proud of.
Every film is its own experience, its own planet, its own family. It seems infinite when you're working on it, and then it's suddenly very finite, and it's done.
When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.
