On Broadway and in the United States it's very different - people crossover all the time into television. I think that we'll get there [in London] in the end, but it has to start with who comes to see you in the musical and whether they can see beyond the dancing and the singing.

When I was playing Dracula I had to switch off from the reality and fall into this fantasy world. Otherwise I just couldn't cope with what I was doing. It's about switching off. It is about trying to flick a switch, which you have to do.

I started doing [acting] for a living, no one really warned me about the amount of traveling I would do. I always thought everything was shot in Los Angeles.

I'm in a fortunate position that sometimes you just get offered roles - they're not necessarily the roles you take, but to get offered a film is amazing. I think the work you've done before that is why you get it.

It's never the practice to shoot the scenes in the proper order. Sometimes you shoot the final scenes of a film before you've even started the beginning. So you get good at it because you have to sort of just eliminate the memories of something you've done as an actor, which you haven't done as the character yet. But it sometimes is a bit of a mind-f**k.

I think it's a slippery slope to fabricate a different life.

When you're working, you're flying on someone else's buck. When you're flying on your own, you sort of go, 'You know what, I'd rather keep the dosh in my pocket to spend when I get there.