There is always something about the villains that I'm able to play, quote unquote, that isn't villainous.

I think if I were to go back on stage I might be in great danger of acting.

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.

I hope I'm able to achieve more on camera through stillness, through focus, through being quite careful to do less on every take, rather than more. So I'm reducing, rather than adding. Which hopefully is a good exercise. That's what I'd like to do.

There is always something about the villains that I'm able to play, quote unquote, that isn't villainous.

I've met quite a number of people in my career, but I do have an extraordinary memory. And even though they may drift into the periphery of my memory, I can bring them right back when I need them.