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.

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.

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

There's a challenge to playing these fantasy figures because they are fantasy figures. You have to enter into this sort of imaginative world of the writer.

You're meant to be playing the distillation of evil, which can be anything.

Little moments can have a feeling and a texture that is very real.

Actors use who they are to be someone else, but I would hate to ever think I'm playing myself. It's imagining being someone else that is the key motivating thing for me. So when people want to know about me, it makes me a bit unnerved.