You have to trust your own instincts about what is appropriate and what is not appropriate and trust your own feelings about what you can and can't show for yourself, and it'll be different for everybody.

As soon as I know how to do something, I usually get bored with it.

If I wanted to work financially, I would have made a series of different choices. I do get offered lots of movies which you could make a lot of money out of. And I always say, 'Why would I do that, when someone else could do it much better than me? Why would I want to do an action picture? Why?

England is strictly class-based. What's surprising is how many films are still made with a load of people in silly frocks running around gardens and talking in middle-class accents.

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.

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

Most theater methodology is predicated on the idea of repeated actions. That's what you work toward. Having the actor repeat the same moment eight times a week. In a film, it's getting that one moment right.