I don't think that I would ever do serenade to be romantic. You have to have so much balls to do that.

You really, really feel like you have no control [participating in franchise] . I mean, it's a huge juggernaut, especially when something becomes part of the cultural landscape in a way as well. It's really scary because you get trapped and you get scared of changing, which is the worst thing that can happen if you want to be any kind of artist.

That was the good thing about having different directors [on series]. You had to stay on your toes.

The only way to establish any kind of mystique, is to completely shut up and never talk to anyone. And I'm contractually obligated not to shut up.

Contact lenses make me miserable, as soon as I put them in. That's what creates the pouting and brooding character.

[Sometimes] I will go through periods where I will think 'Oh maybe I should do a commercial movie' and then I just think, someone gave me a really great piece of advice, someone from my agency weirdly, they said the only clients that are happy are the ones that just do what they want to do. So I just kind of do everything for myself.

I was quite intimidated by Ralph Fiennes. I didn't really talk to him while I was doing Harry Potter and the Goblet of Fire and the only thing I did with him was when he stepped on my head. Then I went to this play and he was there. And this girl said, “you've worked with Ralph Fiennes haven't you, Robert?” and I was like, “well, no...” and Ralph said, “yes, I stepped on your head.” And that was the extent of our conversation.