I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.

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.

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

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.

I think that you can fall into bad habits with comedy... It's a tightrope to stay true to the character, true to the irony, and allow the irony to happen.

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.

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