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

In order to inhabit a villain, you mustn't care what the audience think of you. That's not why you are there. You mustn't care for a second whether the audience likes you or dislikes you. Your villain has to be way beyond that.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

But comedy I'd love to do as much as humanly possible.

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

If one is going to offer children stories that underneath the story must be something that will inform, stimulate and guide, I love to be on board. I think anything that resonates with history, as does The Jungle Book and Watership Down, reflects patterns of behavior, power struggles, deprivation, migration, survival, joy, love, betrayal, and all of these things. It's tragic that children are encouraged to ignore history. We ignore history and any literature that is historically based in history. Even though both of those films involved animals, of course they reflect human behavior.

I do believe female directors, as well as our female writer, can bring out male vulnerability that some men can't because they can't face it.