That's the imagination that happens in the theater. That imagination is translated in film by the film magicians and all the technology.

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.

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

I can't take on all the worries of the world, you know. I can only talk about being gay and being an actor. I'll have to leave those other battles to somebody else.

It was wrongly assumed that I wished to become some sort of leader among gay activists, whereas in reality I was happier to be a foot soldier.

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.

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.