Insecurity, commonly regarded as a weakness in normal people, is the basic tool of the actor's trade.

I like people to be surprised by the turn of events. I don't want things just to be pat and formulaic. If there's some sort of internal combustion in the character or a desire to change the way things are going, that makes for conflict, which is the essence of drama.

If somebody says, "Oh, we're going to improvise!," I'm like, Oh, get me out of here.

You cant please all the people all the time.

I need my friends, I need my house, I need my garden.

The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on.

I wouldn't want to go back to my 20s; they were pretty angst-laden times.