Some people get into this business and they're so afraid to lose anything. They try to protect their position like clinging to a beachhead. These actors end up making really safe choices. I never wanted to go that route. If I go down, I'm going down swinging.
I think good actors can sort of see into people and immediately you have a chemistry with them or not. It's like an affair with no mess. You don't actually consummate it, but you get to pretend, imagine what it would be like.
Before there was any talk of a movie, people would sometimes ask me what actors I would imagine playing these characters. And the only thing I could ever say is: I have such a clear idea of these characters that they'd have to play themselves.
I could have gone the route of a lot of these former child actors, but I didn't want that for myself. Like I said, when I was 14 years old, I decided to quit. I didn't ever want to do it again.
The thing about film-making is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own cheques, be responsible.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors.
When I played Robin Hood, I knew the great role was Alan Rickman's and it didn't bother me. I always think that leading actors should be called the best supporting actors.
Acting is a win-win situation. There is no risk involved. That's why I get tired of hearing actors who try to make out that there's a downside to it. Fame is an odd thing. It bugs you a little bit, but it's really not bad.
