And it's a human need to be told stories. The more we're governed by idiots and have no control over our destinies, the more we need to tell stories to each other about who we are, why we are, where we come from, and what might be possible.
The more we're governed by idiots and have no control over our destinies, the more we need to tell stories to each other about who we are, why we are, where we come from, and what might be possible. Or, what's impossible? What's a fantasy?
Older people say, 'Oh I loved you in 'Sense and Sensibility,' and that's the only film they want to talk about. Equally, there are people who only want to talk about 'Galaxy Quest.' And there's a whole bunch of teenagers who only want to talk about 'Dogma.'
Film has to be reflecting the world that we live in, and that's all you want to be a part of. Actors inhabit the same planet as everyone else. It's a weird thing that happens when you're an actor because people hold you up because you somehow embody in parts groups of people or people's hopes or something.
I have every sympathy for writers. It's a mystery to me what they do. I can edit. I can cross out and say, 'I'm not saying that' or, 'How about we move this to here? Wouldn't that make that bit of the story better?' But where any of it comes from is beyond me. I will never write a play or a novel.
I think the thing about film is, as it gets proved by a lot of young filmmakers now, that the medium will just go on reinventing itself, and so you just hope to be a part of that and not a part of some kind of endless regurgitation or 'Here I am doing what you know I do' kind of thing.
The first time that I came to New York to work properly was the mid-'80s, but I was doing eight shows a week. You have no life. Going to a punk rock club - or whatever the music was at that time - would not have been on my agenda.
I can only see my limitations. That's just who I am.
On the screen were some flashback shots of Daniel, Emma and Rupert from ten years ago. They were 12. I have also recently returned from New York, and while I was there, I saw Daniel singing and dancing (brilliantly) on Broadway. A lifetime seems to have passed in minutes.
I have a photograph at home of Fred Astaire from the knees down with his feet crossed. It's kind of inspiring because it reminds me his feet were bleeding at the end of rehearsals. Yet when you watch him, all you see is freedom. It's a reminder of what the job is about in general, not just being in musicals.
Three children have become adults since a phone call with Jo Rowling, containing one small clue, persuaded me that there was more to Snape than an unchanging costume, and that even though only three of the books were out at that time, she held the entire massive but delicate narrative in the surest of hands.
I approach every part I'm asked to do and decide to do from exactly the same angle: who is this person, what does he want, how does he attempt to get it, and what happens to him when he doesn't get it, or if he does?
Los Angeles is not a town full of airheads. There's a great deal of wonderful energy there. They say 'yes' to things; not like the endless 'nos' and 'hrrumphs' you get in England!
It's a nightmare to sit and watch a film that I'm in. There's a horrible inescapability to it.
I was a student in London in the '70s, so CBGB really wasn't on my radar at all. Obviously, I was aware of the emergence of the Police in England and as an art student, I was very aware of David Byrne, but I suppose my musical taste at that time certainly didn't stretch towards the Dead Boys or the Ramones.