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.

I think I'm more bonded, emotionally and in a craft sense, to films that tell extraordinary stories about extraordinary destinies.

We are adjusters. We empathize, we change rhythm and above all we listen to our fellow actors-if they're good actors.

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.

I have never felt bereft of anything.

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.

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.