“All the great writers root their characters in true human behaviour.”

I told myself that I would not go back to the camps as an actor ever again, that I was very frightened of wearing a yellow star. It was fear, it was cowardice, I was.

The trick is to try and justify every word on the page and make sure my character is the man who would say that.

Working in film, if you work with great directors, you learn that after every take you must let go. Sitting with my wife at the Academy Awards, we both let the moment just go.

I do remember, as a child, that I always imagined, when I was maybe 6 or 7, my fantasy was that everywhere I went I was being followed by an invisible film crew.

When I choose a role it’s either because I recognise the man, or that I’m very curious to know him. If I neither recognise nor know him, then it is better that I don’t play him.

I always try to find something I admire about every character I play.

I think Romeo and Juliet is uplifting. That’s how much a son wishes to avenge his father. That is how much two young people can love each other.

There are some directors, lesser in confidence or skill, who make the actor feel very uncomfortable because you feel you’re auditioning for them, every day, and that’s a terrible feeling on the set.

Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It’s harder.

I do believe female directors, as well as our female writer, can bring out male vulnerability that some men can’t because they can’t face it.

I don’t want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away.

The number of choices you make in the event that you see on stage, those choices are sometimes largely determined by the rehearsal process and the experiments that you go through and the choices that you make in the rehearsal room, not in front of an audience.

I think if I were to go back on stage I might be in great danger of acting.

In order to inhabit a villain, you mustn’t care what the audience think of you. That’s not why you are there. You mustn’t care for a second whether the audience likes you or dislikes you. Your villain has to be way beyond that.

The many many imponderables come together when a film opens and for all sorts of reasons it may or may not succeed.

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.

And where she went, the flowers took thickest root, As she had sow’d them with her odorous foot.

I think the Flecktones are a mixture of acoustic and electronic music with a lot of roots in folk and bluegrass as well as funk and jazz.

Look after the root of the tree, and the fragrant flower and luscious fruits will grow by themselves. Look after the health of the body, and the fragrance of the mind and richness of the spirit will follow.

Perhaps it’s a good time to reconsider pleasure at its roots. Changing out of wet shoes and socks, for instance.

Thou shalt love thy neighbor as thyself.” Why? Because every human being has a root in the Unity, and to reject the minutest particle of the Unity is to reject it all.

Friendship of a kind that cannot easily be reversed tomorrow must have its roots in common interests and shared beliefs.

I always loved the Clippers. You root for the underdog. Obviously, everybody in L.A. is a Laker fan, but deep down inside, you root for the Clippers. If you’re a true Los Angelean, that’s how it happens. You always want the Clippers to do well.

I always give one actor an emotion to make it very easy so he or she can root to it.