'American Buffalo' is special. I can't wait to fight to make an audience feel about it as I do.
Even the way Mamet describes silences within his plays is different. There are pauses; there are pauses within parentheses; there are pauses before dialogue; there are pauses in the spaces between the dialogue - there's this extraordinary vocabulary of silence which is all there on the page, mapped out.
'1984' is terrifyingly relevant. It generates a political conversation, but it's an exciting piece of theatre. Every day, there are things to be spawned from Orwell's mind, whether it's in England or America, terrorist-related or government-related.
If a film is being made by an intelligent director, they're going to cast the right guy.
It's always dangerous to prescribe an idea on other people.
I don't have a set way of preparing for something. You just have to take it seriously.
I found that the more I'd done Shakespeare, and the more I trusted my instincts and applied the same rules you would apply to any scene, the closer I got to how it's meant to be acted.
As a Shakespeare character, if you can persuade someone in a sentence or a speech, you've got it right.