Don't dream it, be it.
The way the world is, I think a silly evening in the theatre is a good thing, to take our minds off terror.
One of the best things that ever happened to me was Rocky Horror being a total flop in New York as a play. I mean, it was a disaster, and it was the night of the long knives as far as the critics were concerned.
Well, you know... I grew up in postwar Britain, when you were lucky to get anything to eat. People in America have absolutely no conception of how austere England was after the war. While you were all sort of eating butter and eggs, we were eating rabbit. That's what there was in the butcher shop.
I'm not a conventional leading man at all and have no wish to be.
I like risky parts - abrasive characters the audience won't necessarily like.
I still find it quite easy to find my way into a child's imagination. We're all Peter Pan ourselves in some respects. Everybody should keep some grip on childhood, even as a grownup.
But we live in a modern world, you know, and, and also it does seem to me that if you - that whatever talents you have, it... I mean it may sound a bit absurd but I, I think it's your, absolutely your duty to resolve them, you know?
My great hero is Billie Holiday, and I've always wanted to do an album of standards with a piano-led quartet.
The people on the business side in the music business are kind of different from the theatre business. I think it's partly because there are different pressures on the industries.
I think artists are driven by the engine of their own talent, but it's a question of what use they put it to.
I moved to L.A., because that's where they point cameras at you. And that's what I'd like them to do.
In most careers, you find something you do well, and you tie an increasingly larger bow on the package.
My career has evolved at its own peculiar pace. American careers are supposed to have a much more singular direction than I've been able to... stomach.
I remember candy rationing until I was, like, 7.
There's nothing more daunting than a musical, but there's also no more direct line to joy. Getting there, though, is like pushing treacle up stairs.
Musicals are famous for being in a constant state of flux.
My interests and obsessions have always been so wide-ranging that I keep popping my head out of different boxes as much as possible.
I've turned down a lot of roles to make time to record and tour.
Contrary to popular belief, I don't just play dreadful old villains.
