I have never been motivated by money in my life. You can't make choices based on what the financial return might be.

You [as an actor] have a responsibility to Jonathan's book and you have a responsibility to talk about a subject that is going to be, whether it's contentious or not, it's going t bring up a huge, emotional response from people. A lot of people will say they are ready or they're not ready.

There are a few writers that one has a relationship with that means, basically, you do whatever they say. One is Caryl Churchill, and the other is David Hare.

It's disingenuous to say that criticism doesn't get to you or you don't hear it or that you ignore it. When everybody says, 'That's crap. I hated that,' you hear it. But it's much, much worse when they're right: when you feel that it is an absolute piece of tosh. I made the film I wanted to make, so you just have to find a way of getting over it.

I have never been motivated by money in my life. You can't make choices based on what the financial return might be.

The culturally specific, in particular, the American porch play that American writers have cherished and loved for many years in terms of their new writing, has seemed to have very little relevance to a much more fast-flowing, abstract, experimental drama that has been emerging in [the UK]. The porch play, not to mention that thing of, Oops, I wasn't loved enough by my father, somehow didn't have the relevance in this country.

When I got married, my mother was very surprised. She said: What on earth is going on? I thought you were gay?