Almost any film that you do is an opportunity to open you up and make you more aware of an area that you might not be thinking about. That's what is kind of cool, or one of the cool things about this profession.

I prefer film and that's what I think I'm gonna put my focus on.

I don't think violence on film breeds violence in life. Violence in life breeds violence in films.

In 1969, at the age of 19, I was lucky enough to work with George C. Scott in the definitive portrayal of his career over a period of many months and several countries on the definitive film version of Patton's WWII career.

I made the film to bring the story of Islam, the story of 700 million of people, to the West.

But John Landis wrote a good relationship which is really what the film's about. A very straightforward young woman who's very sure of herself and she meets a young man who needs some taking care of.

The things that I've done that have totally been remembered, they've always started with the same kind of engine, they've always started with someone saying 'I have to make this film - I'm going to make this film whatever the odds'.

I've done both theatre and film and the fact is if you start believing, if you start reading things and they're good reviews - you believe that and you're lost, and then you read bad reviews and you think that's true and you read that and you're lost.

Clearly any film company that makes a film is always going to talk about sequels particularly if they see something as being successful, which Werewolf was.

Fortunately, both television adaptations and the film I've been involved with are pieces of work that I'm proud of, so I'm very happy for people to focus on them.

So, where's the Cannes Film Festival being held this year?

When I said I was going to audition for a film, I got a hearty laugh from all my family.

The film kept me from working as a secretary. It was a real stroke of luck. A miracle.

On my fifth film, it was then that I stopped dancing.

The difficulty is capturing surprise on film.