Shostakovich's final pieces, his quartets, are scratching the surface of another world.
'Endgame' resists narrative and even thematic explanation. How you play it has to reflect this. If you decide something too much in advance, you forget the element that gives the play life - the audience.
As an actor, it's much easier for me to get work in the movies because nobody knows who I am except for the work that I've done in another movie. I really enjoy that.
I sometimes feel I would like to do crazy things with 'Endgame,' where someone says something, but the words, instead of being spoken, are written words projected out of their mouth.
In 1600, Shakespeare's London was a city of 200,000 people. At the same time, there were already over a million in Tokyo.
I don't tend to get cast in the theatre much. People assume I come with all this baggage. But they do cast me in films. In films, I'm a nobody.
There's something hopeful about 'Endgame.' Beckett strips everything away and asks what remains. There's this surgical dissection of the soul, but at the bottom, you find shafts of light.
I've had various people close to me die, and I don't necessarily find the idea of death purely depressing.
