I think religion might throw up a kind of resistance, but I think if one talks about conditioning we can all kind of understand that.

I love life. I'm fascinated by human behavior because that feeds back into my work.

I think academics are infuriating. For every expert on Shakespeare there is another one to cancel his theory out. It drives you up the wall. I think the greatest form of finding out the truth is through fantasy.

I read as much as I could, but really just spoke to Chris Chibnall and asked all the pertinent questions. That made me feel like we weren't going to do an off-the-peg Camelot, which has been touched upon in many films and TV series before. I really just picked his brain and, in doing so, I got fired up by tackling Merlin in a fresher angle.

Pretty much all films I've seen that depict the life of Christ end with the Crucifixion, almost like the filmmakers don't know what to do after.

It's all about human condition, ultimately. That's what you're looking at. You're also looking to have some fun, as well, because that also translates. Maybe wearing tights once in awhile helped. Getting up on a horse a couple of times before might have helped.

A large part of how an actor works and their process is the stimulation of what's around you, and none more so than in a period piece. This is a modern piece, as much as it is set in a different time, age and myth. If it wasn't relevant, it wouldn't have been made and we wouldn't be putting our energy into it. It's relevant for us today because, in some ways, it throws up a mirror to all of us. As an actor, you get stimulus and you're effected by that, whether it's costumes or funny beards or castles.