I absolutely don't care about my looks and I'm so used to them that I wouldn't change a thing. I would end up missing my defects.
I would rather five people knew my work and thought it was good work than five million knew me and were indifferent.
I think that, often, actors represent what they're not. You get people who define the aristocracy who are not aristocratic - they're lower-middle class or working class. An awful lot of your so-called angry young actors have grown up in extreme bourgeois comfort. It really is surprisingly common.
People coming up and saying something nice is always welcome. But when you're being secretly photographed, that's not so nice. I would rather shake hands with someone and exchange a few words than take a selfie.
I feel more comfortable in drama. Comedy is a high-wire act. I find it stressful. It's a precision science in a way.
We all know the dangers of sequels. Lightning doesn't strike twice in the same place too often, and I think you've got to move beyond it, go the extra mile and have the courage not to just repeat the first one.
If you don't mind haunting the margins, I think there is more freedom there.
In this case it appealed to me partly because it felt close to me in some ways. This is about a confused, bewildered middle class Englishman adrift in smalltown America and that has definitely been me.
My singing voice is somewhere between a drunken apology and a plumbing problem.
Forget trying to be sexy. That's just gruesome.
I think that London is very much like that. I find there's humour in the air and people are interesting. And I think that it's a place which is constantly surprising. The worst thing about it? I think it can be smug and aggressive.
We are actors who show up for work in our sloppy gear, and we've got this extraordinary tailor. It's someone else who's done the design; someone else who's cut the suit; someone else who's measured it. Basically, your job is to just wear it.
I can't imagine seeing Batman in black and white. It was such a colourful TV series. I know. I'm ancient. It wasn't abnormal to be without a television in those days. People who had colour were special.
My grandmother was a minister as well, which was not that common in the 1930s.
Almost every comedy you see is about people making all wrong choices and making all the errors of judgement possible. Good comedy is when it works on this scale. Because it is psychologically very real.
It used to be that I was always paranoid or a loser or something so there's usually something that you seem to associate yourself with at one time or another.
I was in a lake in 'Love Actually', and I was attacked by some hideous aquatic beast and was rushed to the hospital by a man named Rafael! Something stung my elbow, and it blew up to the size of a tennis ball.
A life of very, very serious, po-faced films would drive me nuts. I need - and I'm fortunate to have - a fairly varied menu in that respect. I mean, I was shooting 'Mamma Mia!' at the same time as I was doing Michael Winterbottom's 'Genova'. That was a very, very bizarre summer.
My primary instinct as an actor is not the big transformation. It's thrilling if a performer can do that well, but that's not me. Often with actors, it's a case of witnessing a big party piece but wondering afterwards, where's the substance?
To be bothered wherever you go - it's not a rational thing to want at all.
