In 'Notting Hill,' I was part of a whole plot line over six scenes that was completely taken out. That was rather depressing.
If you are feeling something, then Shakespeare felt it and wrote about it - and wrote about it so eloquently.
It is the nature of the business that you work unsociable, unpredictable hours and can get called away at a moment's notice to somewhere on the other side of the world. This can put a strain on home and personal life.
I don't think I have had a big break, although joining the Royal Shakespeare Company in 1986 opened up new horizons.
Just observing - that's the best skill of all for an actor!
Experience tells us that whereas that degree of recognition can happen for one or two actors, for the vast majority it doesn't, so what matters is to try and be a better actor.
It is strange how your understanding of a play changes. It normally happens after a performance and you suddenly think, 'So that's what that line really means' - it's like a light going on.
There's a mythical status to the Tony Awards. When you're growing up as an actor, you hear about Broadway and the Tonys, but it's not something you ever expect to experience.
In my whole career, in fact, I can remember only two first nights when a show was at its peak on the first night. And I just wish we could devise a system where critics came not on a single evening but were given a choice of performances to attend.
I adored being at the RSC and working on the verse and getting the iambic pentameter right. You just skim across the surface, and the speech is over before you know it. You can just ride along on the music of it.
It's funny: I can never sleep between shows; I think it's because I don't like to switch the motor off. I'll probably have some chicken or pasta, though never the two together, and maybe go out for a quick wander around.
Sometimes I look at Helen Mirren on stage and think, 'You really are the Queen.' You see people bowing to her at the stage door!
A live audience with live reactions feeds a different sort of acting that will then inform your film work, and vice versa.
What's odd is that I've never been asked to do any comedy in film. That's something I could certainly do.
As a young actor, I worked with Kevin McNally and have always thought him brilliant.
Music has always been profoundly important to me.
I went to the Royal Academy of Dramatic Art because it was the only drama school the social worker had ever heard of. Luckily, I got in at the first attempt.
I started with the piano-accordion and rebelled against it, but I could not afford piano lessons.
Theatre is what I've always done, really, especially with the RSC, but I do bits and pieces on TV.
I had a schoolmaster who was a supernumerary at Glyndebourne Opera, and through ,I got a job as a walk-on in Peter Hall's production of 'Don Giovanni' there in 1975 or 1976.
