When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.

Most of the time when you do a job, a play or a film, you're wondering, "Will there be an audience?"

You would be surprised how many directors don't know what they want. They might not know what they want until they see it, they might know what they want but no idea how to get it out of the actor, then you've both got a problem.

When you're on stage with an audience, the director's nowhere to be seen. He's onto the next job.

Acting is a very personal process. It has to do with expressing your own personality, and discovering the character you're playing through your own experience - so we're all different.

I think if I were asked to do as many as fifty takes, I would assume the director had no idea what he wanted, and was just hoping, eventually, to see it.

2D looks so flat. Well, it is, of course, it's flat. But 3D isn't. And for an adventure story that takes you into a long-distant, fictional world, it's ideal, I think.