I think one third of my work is with first-time directors because I think I should, you know? Really, the difference between a first-time director and a second- or third-time director - I mean there's no director who makes enough movies anyway - but if they're talented, they have it. And there is no movie that is perfect.

I don’t make the decision about what percentage of good guy or bad guy I play. For some reason, if I put my energy into the bad guy, that scares people. It’s magic.

The funny thing is most people don't approach me because they are scared, and that's fine, I want to keep it that way. But the thing is if you're not scared or get over it you learn that sometimes what you're scared of is really what you shouldn't be scared of.

I've seen attack ships on fire on the shoulder of Orion, I've seen moon beams glisten at the Ten hauser gate, all those memories, lost like tears in the rain.

I don't know what my appeal is. I can see I've got blue eyes and don't look like the Hunchback of Notre Dame but I can't understand the fuss.

It doesn't matter who's directing, or who's doing the movie; there are a ton of things that can go wrong, and they do all the time. So you just have to figure out how to get through it, and then how the director finally puts it together, and then see what the audience takes from it. That's the most important thing to me.

I was convinced that acting was for fools. I was on the stage when I was eight with my father, he was playing one of those Greek blind guys that sees things and warns people, whilst I was in a blue skirt. I think there were 5,000 people in the theatre, it was ridiculous.