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.
Shock is shock. Your body goes into shock, regardless of it being real blood or fake blood. The mind sends powerful messages to all the various glands and secretions in the body. It’s impossible trying to act it; it just happens. It’s a very important question: no acting.
I’ve met quite a number of people in my career, but I do have an extraordinary memory. And even though they may drift into the periphery of my memory, I can bring them right back when I need them.
If you are a libertine, if you’re not given to long-term faithful relationships, you tend to project your behavior onto everyone else. It’s like the person who knows they’re not trustworthy; they tend to mistrust everyone else.
I didn’t go to drama school because, from the first refusal I then, as I said, a couple of weeks later, was offered a professional job, where I am immensely grateful to the journey.
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.
Family is family over the internet, over Skype, over the telephone. Love is love. You don’t have to actually go through some ritual to prove that you love somebody.
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!
You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
I’m so dependent on reacting to the other actors on the set, and to the director. I’m very responsive. I react. And I treasure the energy that reaction gives.
