I've been a witness to unfairness in society all my life. To the conditions under which my mother worked all her life, working in an industrial weaving shed in the north of England. And it has been this feature of unfairness that has motivated me in all of my political thinking.

You get all of your neuroses worked out on stage. I haven't actually played very many nice characters, certainly not on stage. It's not a quality that attracts me.

Violence against women is the single greatest human rights violation of our generation.

The people who could do most to improve the situation of so many women and children are in fact, men.

I came to feel very, very sentimental about those sets, which is ludicrous, because they represent everything which is transitory and insubstantial. It's absurd that one should feel sentimental about timber and canvas.

And from the first moment that I ever walked on stage in front of a darkened auditorium with a couple of hundred people sitting there, I was never afraid, I was never fearful, I didn't suffer from stage fright, because I felt so safe on that stage. I wasn't Patrick Stewart, I wasn't in the environment that frightened me, I was pretending to be someone else, and I liked the other people I pretended to be. So I felt nothing but security for being on stage. And I think that's what drew me to this strange job of playing make-believe.

Violence against women is learned. Each of us must examine - and change - the way in which our own behavior might contribute to, enable, ignore or excuse all such forms of violence. I promise to do so, and to invite other me and allies to do the same.