Each time you go to the same track you know whether you're improving or whether you're not... it's not open to interpretation. It's measurable - unlike acting.

I get inhabited by a character and then you mourn it. There's a period of mourning for me, definitely.

I think you need to be able to see a lot of negative in things in order to extract material, so there's probably something to that. A lot of the people I used to work with were very, very, very unfunny offstage, so that's a pretty common thing.

I am attracted to characters who think they are in control, but their situation is uncontrollable.

The Israeli accent wasn't one that I was overly familiar with so had to learn from scratch but I was very fortunate I had the right amount of time.

It only seems jarring when you look back on the work I've done. I think if you had to map that out at the beginning and you said, "Right, sit down, this is what you're going to be doing," you'd probably freak out. But I'm someone who really enjoys not being himself. So if you consider that, then it all sort of makes sense. And I just think that's the job of an actor. I guess that's the variation that you're talking about. It's probably a byproduct of just constantly looking for something different, because that's what I feel like I'm supposed to do.

I guess I'm a very keen observer, and I'd like to think I have a good imagination.