I'm a quite serious actor who doesn't mind being ridiculously comic.

I have a photograph at home of Fred Astaire from the knees down with his feet crossed. It's kind of inspiring because it reminds me his feet were bleeding at the end of rehearsals. Yet when you watch him, all you see is freedom. It's a reminder of what the job is about in general, not just being in musicals.

Do you know that moment when you paint a landscape as a child and, when you're maybe under seven or something, the sky is just a blue stripe across the top of the paper? And then there's that somewhat disappointing moment when the teacher tells you that the sky actually comes down in amongst all the branches. And it's like life changes at that moment and becomes much more complicated and a little bit more boring, as it's rather tedious to fill in the branches.

The first time that I came to New York to work properly was the mid-'80s, but I was doing eight shows a week. You have no life. Going to a punk rock club - or whatever the music was at that time - would not have been on my agenda.

I approach every part I'm asked to do and decide to do from exactly the same angle: who is this person, what does he want, how does he attempt to get it, and what happens to him when he doesn't get it, or if he does?

Market forces impose certain rules before a film can actually get made.

I have this feeling that if I could sort out what's on my dining room table, everything would fall into place.