I think Julianne Moore is very, very good. I've worked with her. We did Surviving Picasso. I remember one scene we did together. She had to have a nervous, a mental, breakdown in this one scene. I didn't have many lines. I just had to make sure I knew I came in on cue all right. And I was just watching her walking though the rehearsal. I thought I know what she's doing, "This is going to be terrific." So they said, "Are you ready" and she said, "Yeah," "Ok, roll the camera." And all in one take.

I hate taxing my mind with analysis. I'm not a good analyst. I cannot talk about acting. I hate talking about it. I hate talking about analyzing.

I was trundling around with my inadequacies, and inner pain and loneliness. I yearned, desperately, to be something. I yearned to get out from where I was ... some deep discontent within myself, actually some deep dislike of myself.

I never make conscious decisions. If my agent says to me, "It's a good script," I'll do it. I don't plan. I've got a lot of things to do. I'm at the roulette table and my luck seems to be running at the moment. I might as well stay there until it runs out.

I'm just an actor. It's the way the script is written, and it's easy. I don't have think about it. When you receive the script, you know pretty well how to play it, apart from little technicalities like the accent.

Shakespeare's so bloody difficult, and I don't like failure. You can fail on film, but there's nobody actually there in the flesh to watch you failing.

I like the good life too much, I'm not good at going on stage night after night and on wet Wednesday afternoons.