Conditioning can be not a big heavy thing. (For instance:) I've got a brand new pair of shoes, by mistake you step on it and you make them muddy and dirty, I'm conditioned to go "Hey, what are you doing?" That's my conditioning, I have a response. So, maybe we have to learn to find the pause before we react, because reaction is our conditioning.

There are always going to be times when it doesn't flow as much as you were hoping. So of course I'm going to fail. And when I do fail I hope I fail better and better, again and again. I am happy to fail.

It all felt like a terribly long time. It would have meant that I had to make five movies in five years and if you don't like the movies, too bad. I guess I just wanted my freedom, and I think my life has been incredibly enhanced as a result.

I fall in love with contradictions without understanding. I can't really portray them unless I do. So in a roundabout way I have to fall in love, it's my duty. If love is about understanding and understanding is compassion and compassion is love, I have to have compassion towards the world.

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.

Whether you're a believer or not, I think there's a huge value in understanding the quality of redemption.

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.