It's one of the things that attracted me to the role [Doctor Strange] is the fact that it's a really widely origin story, I mean this is part of it, but of course there's the whole chapter before where he's the neurosurgeon who has the accident. It's fantastic.

The first time we did cavalry charge I was so breathless with excitement I nearly fell off the horse. I actually saw stars in front of my eyes and thought I was going to faint. The second time I had a bit more control but was still giddy with excitement. And the third time I was an emotional wreck. I had to really try hard not to cry.

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.

I'm sad in a way that the character [Doctor Strange ] leaves [neurosurgery] behind. It's an amazing discipline.

[Doctor Strange] is difficult, he's arrogant, but he's kind of brilliant and charming and you'd think, "Yeah, I'd want him on my head if I needed brain surgery." He's good enough to warrant his arrogance and he respects other people but not when he thinks he's right and he'll just do what he deems needs to be done when he knows or feels that he's right and the problem from humility's point of view is that he is right, he's really really good at his job.

There's so much in the 21st century that is stymied by bureaucracy and mediocrity and committee.

The awful lesson of history is that we too often ignore people, just because they're foreigners or different from us.