Shakespeare villains were extraordinary. Macbeth, Iago, Richard III... They're so richly layered that a British actor would find it almost impossible to create a two-dimensional villain, if he's explored in his early years or continues to explore his Shakespearean heritage. You can almost not judge them, if they're played really well.

I didn't go to drama school because, from the first refusal I then, as I said, a couple of weeks later, was offered a professional job, where I am immensely grateful to the journey.

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.

It is better for me to serve a charity as an actor or a voice, rather than at a luncheon being just a celebrity.

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

As an actor there's no autonomy, unless you're prepared to risk the possibility of starving.

I think Romeo and Juliet is uplifting. That's how much a son wishes to avenge his father. That is how much two young people can love each other.