It [the scene] can be something given to you and you go, "Ah this is a good idea, I can work with this." Sometimes it cuts right across your instinct and that's when I might resist. Even if the director might be insistent, I think it's very important to say, "Look, I'm not feeling this. I'll try to make it work but I got to let you know."

So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.

Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.

There are those moments when you shake someone's hand, have a conversation with someone, and suddenly your all bound together because you share your humanity in one simple moment.

There's a lot of people who feel there's a tabloid journalist who had it coming.

One of the things that binds us as a family is a shared sense of humor.

In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.