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.

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."

I'm more relaxed about how the editing process will create a performance and that, in a way, gives me a sense of freedom.

I feel there's so much still to learn about acting. But there is some magic in the capturing of performance and in the process of editing a performance. The psychology of human beings and what's coming through the face... that fascinates me.

In Shakespeare, keep it simple. Don't over-inflect. The speech needs to be naturalistic and simple and accessible as much as possible.

When you meet women, don't pretend to be anything that you're not.

I learned a lot about acting - watching not just myself but other actors and learning how to distinguish between two great takes. It's also about one's own taste in performance.