I don't take much from my own father, because he was a very austere, quiet, private man who would come home from work, go to his parlour and play Beethoven on his piano.

I've got a business manager and he'll just come right out and say, 'It wasn't the best part for you,' or 'It was okay, but I've seen you do better.' So when he does say, 'Wow that was great!,' then I know that he means it and it's something.

I've played a lot of roles I haven't wanted to play, either because they needed someone in the theatre or because they couldn't do it without me 'cause they don't have anyone else the right age.

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.

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.

The first play I did was 'Philadelphia Here I Come.' Can you imagine that? I am 37 years old I am doing my second professional play and I am on stage with John Malkovich. Joan Allen, Laurie Metcalf and Gary Sinise. One huge name after another. I was terrified and petrified, could hardly get a word out of my mouth.

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