Fate destined me to play Fagin. It was the part of a lifetime, and I was the only actor to be in the stage production and in the film.
For me, making the show work was getting belly laughs - like most variety artists. But the straight actor believes you fix your performance in rehearsal and that's it.
I could have worked in America, but there was a recession in the British film industry and I wanted to work in England.
I was the school joker, always doing funny voices and imitations, but then I went to the London School of Economics.
I'd wanted to be an actor from the age of five.
I've no regrets. You take responsibility for your actions.
My portrayal of Fagin was all to do with my experience in comedy and revue.
My training was that you fill in the canvas where it needs colour and polishing. You start with the words on the first night and keep adding bits of business.
Now I can see I was at fault for not being more considerate, but when we were doing the show I didn't think it was my job to be considerate to other people.
On the first night of Oliver! the atmosphere was electric, and there were endless curtain calls for the author.
People have asked why would I, a Jewish actor, play the part of a monstrous Jewish villain? But although Dickens describes Fagin as a merry old Jew, there's no sign of him being a Jew in his language and actions.
Playing Fagin in the play and film was a small miracle.
Retire from the stage altogether, so crushing the blow of a dream child's collapse.
So to create my Fagin I fitted all the bits of business together until I felt exhilarated and complete. My Fagin was a clown, and my performance was tragicomic.
Working on a film, you don't get time to develop rivalries, but the theatre is like a little village, and the differences between me, Lionel and Georgia grew.
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