When you're onstage, you're acutely aware of the reaction of a particular group of people, because it's like a wave.

I was quite shocked at the tone I took and the judgements I had of the relationship that she embarked on, you know, sex with a minor. But it's the stuff of great drama.

I live my life parallel with my work, and they are both equally important. I'm always amazed how much people talk about celebrity and fame. I don't understand the attraction.

What I find interesting is this ricochet effect, that the audience perceives the work and then does something with it, throws it back to the world, and there's an ongoing interaction between work and audience, which doesn't belong to the artist anymore - from the moment you release it, it doesn't belong to anybody.

o matter how much research you do, or invention you do, whether it's a character from a novel, a completely invented character or someone who actually existed, it's a work of faction. By the very fact you only have an hour and a half or two hours to tell a story, you're telescoping events and it is, in the end, a work of imagination.

I think when you fall in love, whether you're heterosexual, transgender, gay, lesbian, whatever, straight, you feel like it's happening to you for the first time.

I couldn't possibly have played someone with feelings towards a woman unless I had those feelings myself.