Voldemort? That might be real.

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

It's thrilling to have the opportunity to work in different areas, whether it's on a project that has all the resources behind it like Harry Potter or James Bond and then to go somewhere there's very few resources.

As an actor, there's a bit of you that's decided you want to be looked at and watched, but there's a paradoxical bit that wants to run away.

I respond to a part just intuitively when I read a script.

It's not great if someone gives you sort of bland praise without giving you clear direction and say, "This is good, let's try it like this." I have worked with someone who seemed quite inarticulate and just would say, "That's good, that's good." That's very frustrating because - it's nice to know something is good but you know it can always change.