I was grateful to have two weeks to shoot this one scene in Harry Potter. It's a big, big scene, but they have to deliver. And they have high expectations.

We'd all like to believe that perhaps people could stop killing each other.

There is a tension in relationships between wanting to return to the womb, but also wanting to be free. Because sometimes the woman's attentions can be overly maternal, and you want to go, 'Ahhhh!'

I loved doing Harry Potter. I had a great time on that. And I think it's good to have a mix. I think you're learning all the time.

We're in a world of truncated sentences, soundbites and Twitter... [Language] is being eroded -- it's changing. Our expressiveness and our ease with some words is being diluted so that the sentence with more than one clause is a problem for us, and the word of more than two syllables is a problem for us.

I don't feel I'm playing villains all the time.

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."