I think that most actors, and they're a very strange lot actors, very strange people, but I think that they attempt to keep in touch with the child.

The environment forces you to be utterly dependent between "action" and "cut" because the environment is perfect on your fellow actor. So as an acting exercise, it's absolutely thrilling that the focus that we had to bring to each other echoed in life, echoed in art. And when you get that parallel, it's really thrilling and it's full of surprises, but it all has a logic.

There is so much to do on a film set. It is an extraordinarily invigorating and wonderful place to be, when things are running well.

I do believe female directors, as well as our female writer, can bring out male vulnerability that some men can't because they can't face it.

Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder.

I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

I'm very in love with the fact that the camera is revolted by acting and loves behaviour.