It doesn't mean old or younger. I've learned a lot from people much younger than me as well as people much older than me. So I think it's about honesty and generosity.

When I'm acting, I'm in the director's hands. I'm very happy to be. I like to be focused on what I'm doing.

Everything is important, but there is a weight to these big or expected things and then there is the logistics of them and it's trying to find, while you worry about for instance the ballroom scene, how do you get 500 people to go to the loo in corsets and don't cost you an hour and how do you remember while you're organizing all that to take a breath and say, 'Well the scene is about all of that and it's about Prince hand on the small of Cinderella back as well' and we need time to do that properly as well.

Sometimes it comes out in what I call tricksy behavior. That's not always easy to deal with, but it's fascinating. The key thing is to make sure that somebody's tricks don't trip up somebody else.

The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.

Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp.

Somehow I know there was something so right about my doing Frankenstein and taking so long over it that I've probably been laying some ghost inside myself. It was a very necessary job for me to do, but it'll take some time to recover from it.