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.

You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.

You don't go to a town to present the play and have applause at the end of it, but that's benign conquest. It's a glorious way of exploring other landscapes and other cultures in a very life-affirming way.

My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

I have a rather naive approach, I think, to my job.

Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.

Hamlet is an astonishing intelligence.