I like to learn the lines and not get any precontrived things in my head about the part. Just get on stage and see what the other actors are doing, and respond to them as honestly as I can.

Actually I was born in 1940 in Blackpool because my family lived in Manchester but Manchester was being bombed. So my mother was sent away to Blackpool to have me and then went back; so I lived my first eighteen years in Manchester and then emigrated to the States when I was eighteen.

I didn't want to be the archetypal sponging brother-in-law, so I didn't go into acting when I got to the States. I thought, 'No, I'll go to school and then I'll be an English teacher; that'll be fun.' But I was horrible as a teacher. As hard as I tried, I just couldn't inspire those kids to take an interest in Milton and Shakespeare and Donne.

My first acting class was taught by a little known playwright, David Mamet, who then cast me in my first play, opposite John Malkovich.

I was never very mature in my relationships with women. First sign of conflict, I was gone.

You can take the boy out of England, but you can't take England out of the boy. And ummm, yes, I feel a huge emotional attachment to England.

What I mostly do is take the script, analyse the hell out of it, see what's in there, see what kind of person I'm dealing with, and then forget I'm playing a father and just play a person who exemplifies all those things.