To get a horse to hit a mark without a rider, to get it to stand up, to get it to rear, to get it to pick up a bucket and bring it over is amazing. It's hard work and very rewarding but can be dangerous.

There's a huge raft of roles that actors in our culture perform, and you can see any one of about three Hamlets in a year. It's not something to be completely daunted by.

I never was obsessive about anything I watched when I was a kid, except maybe 'The A-Team' and 'Airwolf' And I loved 'Knight Rider' and then later 'Baywatch.'

My mum and dad had worked incredibly hard to afford me an education.

To get a horse to hit a mark without a rider, to get it to stand up, to get it to rear, to get it to pick up a bucket and bring it over is amazing. It's hard work and very rewarding but can be dangerous.

I'm very proud of the work I do, but I genuinely can't involve myself with an audience as early as somebody who's not part of the film can. So there's that side of theater that appeals to me, where you give something and the response to what you've created is a communion between you and the dark that contains however many people. It's thrilling not having a reflection other than through the people you're communicating with. But people ask, "What do you prefer?" and I don't have a preference. I love them both. I really do.

There was a moment of extraordinary humbleness and humility and pride, as well, with my father when he turned to me - and I think it was after I played Salieri in "Amadeus" at university. And he said, You're better than I ever was or ever could be, you should do this for profession. You'd have a good time.