There are a couple of films that I've done, where I've had to get on a horse and wear a pair of tights, so that helped. But, nothing could have prepared me for the fun of wielding magic like Merlin does, especially in the perverted mind of Chris Chibnall.

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.

He [Merlin] is slightly from another world and place, so it [challenge in bringing the role to life] is about having fun and presenting it in a new way. He's more of a politician, and slightly Machiavellian, but there's also a lovely relationship going on between Merlin and Arthur. There's so much to be had, really.

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.

I've got a vendetta to destroy the Net, to make everyone go to the library. I love the organic thing of pen and paper, ink on canvas. I love going down to the library, the feel and smell of books.

I wanted to say, "Hey, Pope Francis," but I cried like a baby. I was reduced to a very humble set of feelings, because it was not about what was said: There's a presence. That was a blessing for myself and my family and everyone there to be a part of that.

I guess there's nothing I don't like about Merlin, in this presentation. I love everything, even the things I find despicable and abhorrent in Merlin. They're actually a joy to ride on the tailcoats of.