I just loved playing a man who was unafraid of making an idiot of himself in the process of falling in love. I found that admirable.

Millions of children are disempowered and we need to empower them.

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

I think that all of us either lose touch with the child inside us or try and hold onto it because it so precious to us and it's such an extraordinary part of our lives.

If it's a really well written villain, he probably has more layers than the archetypal good person. So that would be very attractive to an actor. No one chooses to be a villain; it's usually a reaction to something else.

I think that various styles and methods and approaches are an invention of people who don't understand the process of acting and who try very hard to label things.

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.