I love theatre, and you learn too much as an actor and enjoy too much of it not to want to go back a lot.

I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.

Doctors and nurses do crazy hours and keep an ideal afloat through the love and care that they have for their craft and their patients and the institution of the NHS. We should be very proud of it.

Conan Doyle is amazing in the way he has Watson describe Sherlock’s posture, mood swings, his hand gestures, and so forth in the novels.

Even in cerebral roles that are seemingly intelligent and nothing else, I think it's so important to wrap your characterization in a physical form as well.

Look at you lot, you're all so vacant, is it nice not being me it must be so relaxing.

[Sherlock Holmes] has to understand the world. That's very much John's [Watson] influence on him. But like a lot of the friendships and relationships in that world, it's born out of necessity. It makes him better. There's a pragmatism to it. It's not whimsical or sentimental. It's born out of necessity.