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In my day England, Scotland, Wales had 80 drama schools. There are none left. So there's no training, no discipline.
A few years back I was asked if I would go and meet a director and his various acolytes, and it occurred to me halfway through the meeting that what I was doing was auditioning. And I thought, 'Well, hang on buddy. I've done half a century of this.'
We were in the Arabian Desert for nine months. And I was having the time of my life. It could have been an archeological expedition, a military expedition.
Where do I begin? I loved working with Kate Hepburn, which was one of the highlights of my life; Working with Richard Burton in Beckett was another great joy.
Writing is a kind of performing art, and I can't sit down to write unless I'm dressed. I don't mean dressed in a suit, but dressed well and comfortably and I have to be shaved and bathed.
Irish women are always carrying water on their heads, and always carrying their husbands home from pubs. Such things are the greatest posture-builders in the world.
Actors have given up their clout. Now decision making is in the hands of lighting men, designers, bankers, special-effects people. We need to cut that out and just go with the most able trained actors in the business.
You know when you've found a part that you want to play. You know it because the part takes you over. It sits in the script waiting for you to play him.
The star-jump technique - that is a big part of being a handball goalkeeper, and I brought that move into football. It is a very effective way of saving a chance.