We all have these shades in our nature: it's a spectrum within all of us.
My guitar is a 1934 National Trojan. They call it a resonator, which is the guitar guys played in the honky-tonks before amplification. It's very loud. It's the type of guitar that Son House and Robert Johnson played.
I'm married to the girl that I first went out with when I was 16. We were on and off for years; now we're married with a kid, so I don't have that many exes.
Weirdly, my dad didn't want me to become an actor, he was always quite resistant to it. He told me as much many times. That just made it more attractive to me.
I sometimes self-edit when it comes to auditions and go, 'They're not going to cast me, so I'm not going to do it.'
I had a series of jobs in the small fishing village in West Wales where my family lived when I was a teenager. I worked as a fisherman in the day, and then the skipper and his wife ran a small restaurant - she'd cook the fish he caught.
In my early twenties, the whole experience of going on tour was like losing myself in this slightly wild environment.
When I first moved to London, there was talk of a folk revival, with annoying names like nu-folk that made me feel slightly ill.
I take them both seriously - I don't particularly want to be an 'actor-musician.' I want to play the great challenging parts, to be right for the part, rather than just, 'Oh, he can play the fiddle.'
I'm a big Bob Dylan fan. I'm also a blues geek.
I try and stay in my right brain as much as I can, but my left takes over.
I definitely asked too many questions of my teachers and was probably a bit facetious at times.
I have a classical music background. I studied violin and trumpet.
The reason I stopped music for a while and concentrated on theatre was that it was more conducive to parenting; having the days free was quite handy. I love them both. I hope I don't have to compromise one for the other.
I think the truest things come from silence, but everything's always so clogged up with noise. If everything falls away, and you can truly listen to someone, giving them yourself and generosity, you can truly lose yourself in what they're saying. Like, not impose your ideas on what they're saying, but really tune into them.
I really love a lot of early Sixties R&B, rock n' roll, and I love performing songs that have that power and soulfulness.
The thing I find really special in performance is that there is this slightly mystical thing that takes over when you're responding to a crowd and engaging in people's imaginations collectively in a room. I've always thought that one of the most incredible things about being alive is going to see some kind of performance like that.
I actually do bits of my writing in sort of incidental spaces - when I'm traveling on the Tube or on a bus. More often than not, it's a reaction to how you feel about something, and if you're sitting down and concentrating on, 'I must write something,' then you can't have a truthful reaction.
I find it hugely exciting to be dealing with another writer's language.
My dad was an actor, and he made it all seem quite magical. It felt like a slightly subversive thing, telling stories, when all of my other friends' parents were builders or bank clerks. It's always seemed quite magical to me.
