I get stage fright and gremlins in my head saying: 'You're going to forget your lines'.
Older people say, 'Oh I loved you in 'Sense and Sensibility,' and that's the only film they want to talk about. Equally, there are people who only want to talk about 'Galaxy Quest.' And there's a whole bunch of teenagers who only want to talk about 'Dogma.'
On film you put all your energies into a single glance.
I suppose with any good writing and interesting characters, you can have that awfully overused word: a journey.
The point about a great story is that it's got a beginning, a middle and end.
I never talk about 'Harry Potter' because I think that would rob children of something that's private to them. I think too many things get explained, so I hate talking about it.
When I get off the plane in England I always feel about two inches shorter.
I've never been able to plan my life. I just lurch from indecision to indecision.
Who I am gets in the way of people looking innocently at the parts I play.
One longs for a director with a sense of imagination.
I have a love-hate relationship with white silk.
You can lull the paying customers as long as they get slapped.
Market forces impose certain rules before a film can actually get made.
Maverick is a word which appeals to me more than misfit. Maverick is active, misfit is passive.
Mellow doesn't describe me. I'm hungry every day.
I think every English actor is nervous of a Newcastle accent.
Acting touches nerves you have absolutely no control over.
The first time that I came to New York to work properly was the mid-'80s, but I was doing eight shows a week. You have no life. Going to a punk rock club - or whatever the music was at that time - would not have been on my agenda.
England in the '60s and the '70s was everything that history has said; it was phenomenally exciting, musically.
Parts win prizes, not actors.
