I have taken film-work that has been a little more cliché-written, to support myself and my family, and that's a whole kind of other challenge. It's like chopping wood: You've got to take what you can get and bless what withstands you. But in theatre! There's enough great theatre that you can find something interesting!

Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing - all the things that ruin your life and draw your attention away from your art - at the door.

The character has to have some kind of arch. The character has to go through an event, and be changed by the human event.

All art is autobiographical - if it's not, it's not going to quicken on-stage, and it's not going to come alive.

In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings. This is how the two levels of life in a part are created, the inner and the outer. They are intertwined. A common purpose brings them together and reinforces the unbreakable bond.

Don't go so deep in yourself that you no longer exist for your partner and for the character and for the play.

Love the art in yourself, not yourself in the art.