I'm one of those actors who says, "Point me toward the work that matters to me and I don't care where you're putting it. Television show. Movie. Projected on the back of someone's garage." If that's where the work is that's exciting to me and moving, I want to be there.

I like to think of myself as a physical actor.

That's what's so satisfying about acting. You can come as prepared as you like, but there's no accounting for what's going to come at you from the other actor. That's part of the joy and the play of it. If you don't have that it's a different kind of performance.

When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.

I feel television is in a fantastically rich vein of what it's presenting both by opportunity to actors and to audiences.

I know I had my equivalents in Adrian Lester and Lenny James when I was at drama school. I remember David Harewood doing 'Othello' at the National, and Adrian Lester having done Cheek by Jowl's famous 'As You Like It and Company' at the Donmar. Not necessarily performances I saw, but just the fact they happened was massively encouraging.

I never, ever do a film and just kind of move on. I think of them as children of mine, and you don't give birth to a baby and just leave it on someone else's doorstep. You see it all the way through college.