I'm not experienced enough, or certain enough of my acting on the screen to say to a director, "You are wrong, I am right. I will only do it this way." I could never feel that, I wish I could be absolutely certain. But on the stage, it's different. I know where I am on the stage.

Personally, coming out was one of the most important things I've ever done, lifting from my shoulders the millstone of lies that I hadn't even realized I was carrying.

Some directors don't tell you that it's not your fault, so you get increasingly depressed that you're not delivering what's required, and then you discover it's not you at all, it's something in the background that's out of focus.

No one needs to feel sorry for me or anyone else who has fallen victim to success.

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.

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.

My acting stopped being about disguise and became about truth which suits the camera, so my film career took off when I came out.