I tend to project my father figure onto any director that I'm working with, or mother, if I'm working with a female, or it can be confused.

I feel I do my best work when it's all there on the page, and I feel that the character is very vivid as I read the script and I'm not having to create stuff and trying to cobble together something. If I have to do that, then I don't entirely trust what I'm doing.

Funny enough, if you are looking at people these days who are putting Botox in their face and getting all sorts of plastic surgery, we look at them and go, I can tell you've had Botox. I can tell you've had plastic surgery. You look really strange to me. But no one's saying anything. We're just accepting the fact that they're strange-looking.

I don't want to make a habit of just playing small roles, because I really enjoy the process of being part of a film and staying on it for the length of time that everybody else is as well.

If I'm exhausted, physically and particularly emotionally, I can't tell what's good and I can't tell what's bad and I'm useless.

To work in America or other places is more about curiosity, because I'm dealing with cultures and sensibilities that I don't really know. So I'm having to sort of investigate them, which I'm fascinated in, but it comes from a place of curiosity rather than a real need to get something out of my system.

Sometimes I'll go for something more because of the story, or more because of the director. But, generally, I have to feel like it's something that I have a real sympathy for - a person that I can completely go, "Oh, wow, oh, I'm there." Otherwise I don't feel like I will be able to pull it off at all. I know I haven't done everything very well in the past; some things have worked and some things haven't. But I need to feel like I can feel about the person, understand that person, I suppose.