In cinema, the leading player is the director.

I do remember, as a child, that I always imagined, when I was maybe 6 or 7, my fantasy was that everywhere I went I was being followed by an invisible film crew.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

I'm convinced that had I not changed my name, I don't think I would have had quite the same career curve that I eventually had.

Somewhere in your career, your work changes. It becomes less anal, less careful and more spontaneous, more to do with the information that your soul carries.

That hunger of the flesh, that longing for ease, that terror of incarceration, that insistence on tribal honour being obeyed: all of that exists, and it exists everywhere.

One of the greatest things drama can do, at it's best, is to redefine the words we use every day such as love, home, family, loyalty and envy. Tragedy need not be a downer.

When Attenborough asked me to do Gandhi it was almost like stepping off one boat and stepping on to another, even though both boats are going at 60 miles per hour.

I have a rather naive approach, I think, to my job.

As a singer, I might have fallen among thieves. I wonder if I'd still be alive by now.

I think that you can fall into bad habits with comedy... It's a tightrope to stay true to the character, true to the irony, and allow the irony to happen.

But filming is good for you, because the crew isn't allowed to laugh. You can't get addicted to getting the laugh.

There was one titanic guiding light on the film set, and I was in the presence of a true Mahatma, in the deepest and most profound sense of the word.

Filming is so much to do with rhythm, as is music, and if it isn't there then you know in the end nobody can save it really, they can't.

I think Romeo and Juliet is uplifting. That's how much a son wishes to avenge his father. That is how much two young people can love each other.

The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!

Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder.

I just loved playing a man who was unafraid of making an idiot of himself in the process of falling in love. I found that admirable.

As an actor there's no autonomy, unless you're prepared to risk the possibility of starving.

There have not been any troughs as regards my work. There's never been a trough of my assurance.

I don't honestly think people know what acting is.

If I were to play somebody who ran a fish and chip shop, I would not work in a fish and chip shop for three months. Staring at chips is not going to help me in my performance.

I think that most actors, and they're a very strange lot actors, very strange people, but I think that they attempt to keep in touch with the child.

I think that all of us either lose touch with the child inside us or try and hold onto it because it so precious to us and it's such an extraordinary part of our lives.

When you drop your guard in films, the acting process compensates. You get lazy and you start acting.

With narration, you have to be very accurate with your voice. It's a good exercise to do.

When I choose a role it's either because I recognise the man, or that I'm very curious to know him. If I neither recognise nor know him, then it is better that I don't play him.

I have never felt bereft of anything.

I'm very in love with the fact that the camera is revolted by acting and loves behaviour.

I think if I were to go back on stage I might be in great danger of acting.

The trick is to try and justify every word on the page and make sure my character is the man who would say that.