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I love the French horn.

Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.

I learned, too, how it was possible with the help of the picture and action to transform an apparently insignificant violin passage into an incident, and to lift a simple horn call into a thing of stupendous significance by means of scenic emphasis.

I played French horn, and I certainly do miss it. I miss it. I wish I had the time to keep up with it. It's like exercising: You have to keep it up, especially the muscles in your lips to deal with the French horn.

I did theatrical caricatures.

Then I took 8 years of French Horn, first jazz, and then classical.

It was 1953, and I was still at school. I'd borrowed a silent French film from the library for my 9.5mm projector. It was by Jean Epstein, and it was awful. So I rang the library and asked if they had anything else. They said they had 'Napoleon Bonaparte and the French Revolution.'

If I'm doing a play, 30 to 40 percent of the people that come to the stage door have pictures of 'Alien' for me to autograph. And usually, the photos are pretty gory ones.