Albert Finney

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?'

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.

I don't think that we necessarily lie. I mean, we make our living by pretending that we're someone else. I don't tell tall tales. I always tell the truth.

When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.

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.

All we did in Alabama was have a read through with the script, but there was, 'No, well, it needs more. You've got to do this, Albert. You've got to do that, Jessica.' It didn't feel like that at all.

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.

I was in London. It's a long way to go for a very long party, sitting there for six hours not having a cigarette or a drink. It's a waste of time.

She goes on the set with headphones and gives you notes. She's terrific and I always run to her now, because she is just great to work with, as well as very good at different accents.

That is one of the reasons one enjoys acting. Now and again, you get scenes where you work with somebody really good and you have a good time trying to make it really work and really work well.