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We took Beowulf, the epic poem in Old English, and put it right together with John Gardner's contemporary retelling. If you bring it into today, we really feel that it has something very fresh to say now.

Working with Scorsese was an absolute dream, and one of my favourite ever jobs was 'Beowulf' because it was just pure acting. Your imagination explodes as you try to imagine you're fighting a dragon or whatever.

From the wrestling of his own soul with the great enemy, comes that depth and mystery which startles us in Hamlet.

The land of Beulah lies beyond the valley of the shadow of death. Many Christians spend all their days in a continual bustle, doing good. They are too busy to find either the valley or Beulah. Virtues they have, but are full of the life and attractions of nature, and unacquainted with the paths of mortification and death.

Revenge... is like a rolling stone, which, when a man hath forced up a hill, will return upon him with a greater violence, and break those bones whose sinews gave it motion.

The Berserkers have been with me for about forty years, and we're not done yet.

Sowing is not as difficult as reaping.

In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.

But, look, Washington is a town that creates myths for its own existence and its own amusement, and I was a subject of myth, sort of like Grendel in Beowulf - you know, not seen very often but often talked about.