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

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.

I headed out to have a breather at the stage door, dressed in my tramp costume. I had my bowler hat between my feet and there were passers-by, and one of them turned back and said, 'Do you need help, brother?' And $1 fell into my hat!

As for the clarity of the 48 frames, I've heard people say that it looks odd, it's too demanding, there's too much information, you don't know where to look.

I think the point to be understood is that we're all different. I've never been a fan of theories of acting. I didn't go to drama school, so I was never put through a training that was limited by someone saying, 'This is the way you should act.'

When you were on stage, you could be absolutely open about your emotions and indulge them and express yourself in a way that - in real life - I wasn't doing.

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.