There have not been any troughs as regards my work. There's never been a trough of my assurance.
The trick is to try and justify every word on the page and make sure my character is the man who would say that.
The many many imponderables come together when a film opens and for all sorts of reasons it may or may not succeed.
The hierarchy of class in London was rigid. It was like a religion. It still is to a certain extent.
The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!
That hunger of the flesh, that longing for ease, that terror of incarceration, that insistence on tribal honour being obeyed: all of that exists, and it exists everywhere.
Somewhere in your career, your work changes. It becomes less anal, less careful and more spontaneous, more to do with the information that your soul carries.
I've never had to turn my hand to anything for monetary gain, other than pretending to be somebody else. I'm deeply fortunate.
I would like to make it known, on this program, loud and clear, that I would absolutely embrace with all five of my arms being a Bond villain.
When Attenborough asked me to do Gandhi it was almost like stepping off one boat and stepping on to another, even though both boats are going at 60 miles per hour.
One of the greatest things drama can do, at it's best, is to redefine the words we use every day such as love, home, family, loyalty and envy. Tragedy need not be a downer.
I'm very in love with the fact that the camera is revolted by acting and loves behaviour.
I'm convinced that had I not changed my name, I don't think I would have had quite the same career curve that I eventually had.
If I were to play somebody who ran a fish and chip shop, I would not work in a fish and chip shop for three months. Staring at chips is not going to help me in my performance.
If your best friend has stolen your girlfriend, it does become life and death.