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.

I went out to Mount Kilimanjaro, which I thought was very beautiful, but there were a lot of people there.

I've never felt fallow in the sense that there's been no work.

I felt it [Shakespeare's Coriolanus] is sort of an examination of our dysfunction as a nationalistic, tribal entities. I think the world is rocking and cracking open in weird and worrying places. And I think Coriolanus, the play, reflected that.

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."

If I had a gun to my head and I had to choose between theater and film I'd choose theater.

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.