My first language was shy. It's only by having been thrust into the limelight that I have learned to cope with my shyness.

I've had very deep relationships that lasted for long periods of time with people - you could almost call them marriages, even though I didn't marry. But it was costly.

I want to be a great actor someday, and I've decided there's no use philosophizing; the only way is to work at my craft.

The fruit falls off the tree. You don't shake it off before it's ready to fall.

When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.

I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.

I would say I am more concerned with the plays I'm going to do than the movies. I'm more comfortable in a play. In film, there's always a certain sense of control, of holding back. The stage is different ; there's more to act. There are more demands put on you, more experiences to go through.