I have no memory, any at all, of actually performing the play, no recall in terms of the lines. I can't tell you any line from any play I've ever done.

I quoted David Hare one of his lines the other day to illuminate whatever point we were trying to make in the conversation, and I said 'What play was that?' and he said 'It was your line, you said it about a hundred and fifty times in The Vertical Hour.'

I used to joke that one of the reasons there was a lack of classical work on my CV was because I couldn't operate in those kinds of trousers. Which is a joke, but it's actually also true - if I want to appear in public I want to look my best. If I'm onstage I like to do contemporary work, largely because of the trousers, because of the clothes. I like a decent, what we used to call a lounge suit. Then I can start to motor.

I have nothing against romanticism. I'm all for it. I'm helpless in the face of romance.

I'm just aware of what I'm thinking and feeling but I do obviously have to get that to the back of the auditorium. So there are things like projection and filling the room, and not dropping the ends of lines - technical things which are important, but I don't think they change the way I feel in a scene.

I think in the old days, everybody used to act really quickly because Hollywood was built by theatre people.

When you have a family, or even when you're just seeing a girl, it's difficult to be skint.