[Sherlock Holmes] has moved from being someone who was sociopathic, work-obsessed and slightly amoral, into being someone who has a certain degree of a private life, which is very, very private, with The Woman, or Irene Adler.

Talking about class terrifies me. There is no way of winning.

I am shortsighted. I need glasses for watching movies or concerts. It's not a hipster affectation; I do have poor eyesight. This is how ridiculous my life is: I've had the test for contact lenses, but I haven't found a half-day where I can go to the optician.

[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.

I can feel infinitely alive curled up on the sofa reading a book.

One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.

This is an odd profession, and sometimes people get jealous, but I haven't really experienced any of that. Everyone's been really happy for me, which is really, really great.