I guess I'd love to be surprised by something I had never thought of.

And although I've been very fortunate in the film work that's come my way, I need to get back to the stage. If I'm away for a maximum of two years, I feel something's wrong.

What moves me in art is how we question who we are as people.

I should say, a piece of advice that was given to me very early on by the principle of RADA (Royal Academy of Dramatic Art) which is where I went. When he auditioned me, he said, "Your speech, monologue, is fine. It's good. Yeah, I think you have ability but you're making it happen. Don't make it happen, let it happen." And that's a sort of subtle shift I think, as an actor.

Gardeners are good at nurturing, and they have a great quality of patience, they're tender. They have to be persistent.

Having gone through editing process, I can see that in actor's faces there's point where they're not managing their performance and that's, I think, the best place to be. You've done the homework, you've learned the lines, at that point you just sort of let it out.

I'm interested in the spirits of people. In the theatre, there's the acting part of acting - and I'm not saying that can't be great - and there's the essence. To explore that essence, you need a key, a look, a gesture, an insight that unlocks the person's soul.