I once said to someone when I was playing Lady Macbeth and they said: "That's tricky, emotionally, what do you do about murdering your husband's cousin?" And there are, of course, things that aren't in your personal repertoire that you have to somehow understand by reading or watching other things and listening to other people talk about them.

I like to push myself beyond the limit every now and again.

In the theatre you can change things ever so slightly; it's an organic thing. Whereas in film you only have that chance on the day, and you have no control over it at all.

In contrast, the control you have in a theatre is very attractive to me.

I work out the other bits, too, but I need to know what I look like, very early on. And then it's like a template; I'll fill that person out. If I get that out of the way, then I'm all right.

Everything, every part that you approach has to be somehow rooted in yourself. You have to somehow root everything so that it's not just words coming out of you.

The need for a global structure of control in the form of a world environment court is now more urgent than ever before.