I spent two years in the military service, then I trudged around in repertory for quite a while. I somehow wound up at the National Theatre, though, and then I was definitely on my way.

The trick is not to get too fanatical about getting the accent too accurate because then that becomes a mask. What I try to do is just painting and sketching some of the sounds without obliterating my own voice.

It's very difficult to liberate yourself from what you've learned. You know it's almost impossible because you learn in order to survive.

It was a challenge, to work with Oliver Stone.

When you're younger you have a lot of ideas and you're probably more insecure, all those things. I work with young actors now and I see their insecurities and I make fun of them. I don't make fun of them but I make them laugh, because I know what they're going through. When you get older you think 'It's only a movie after all, it's not brain surgery.'

I'll do anything to keep everyone laughing. Things get too intense on film sets. I remember on The Elephant Man, I used to imitate a cat without moving my lips. David Lynch would say, "Cut! Sorry, we've got a noise somewhere on set." Everyone would be looking around for this cat.

I come from - I came from Wales, and it's a strong, butch society. We were in the war and all that. People didn't waste time feeling sorry for themselves. You had to get on with it. So my credo is get on with it. I don't waste time being soft. I'm not cold, but I don't like being, wasting my time with - life's too short.