I started off as an actor thinking that I would be this Romeo, this dashing leading man. It turns out that I'm a character actor.

I've never felt that I've had some great fashion sense of my own - I tend to wear what my wife tells me to wear.

Géza Röhrig is just incredible because he's not an actor, he's a Hungarian poet. He also happens to be a brilliant actor. He's totally unusual, the way he talks and thinks and operates isn't in the same language as you're used to from actors who've been in a lot of things before. It brings this completely bizarre and fresh, wonderful way of approaching everything that I love being around. Not where I'm, as a producer, having to interact with him as an artist, but as somebody who can stand back and admire what he's bringing to this thing that I've nurtured to create a stage for him.

For a long time a lot of people thought I'm British, because I'd done so many roles with English accents. People probably still think it. Or they don't think anything.

People are always going to identify with what it's like living in society and have people judge you in certain ways, and how you can be strong enough to be your own person and all those good things.

It's very hard to write music for a film because you're writing about somebody else's experience.

Barry Levinson is such a deceptive director, because he seems really lackadaisical. I'd never worked with him before, and I almost got the impression that he didn't really care that much because he was so laid-back. Sometimes we'd finish filming hours before the day was over, which is just unthinkable in any other film experience I've had. I couldn't believe that Barry had the passion for it.