I'm like a mechanic. If you break down and phone the AA, they'll come to you whether it's raining or snowing. That's what an actor should do.
Eddie Marsan
I come from a place where there's violence and inarticulacy. I worked in a pub from the age of 12 or 13. I used to see people smashing glasses over each other. I was never tough. I was scared of them.
I was approached to do something for seven years, and it was a quality project. I did seriously think about it, but I didn't want to be away for six months of the year. I've never done the L.A. thing where you go and have loads of meetings; I can't say to my wife, 'I'm going to wait by a pool for six months.'
With a face like mine, I'm never going to play a character who conquers the universe, I'm going to play characters who are subject to forces bearing down on them. My career's based on how we are rather than how we wish we were - they get the good-looking boys in for that kind of role.
I love Bethnal Green and where I'm from. Nothing there, especially the people, ever held me back, but I never felt that I was successful there.
When I was doing fringe theatre, my ambition was to do repertory. When I got to rep it was to do national theatre; then it was t,o get a couple of parts in television. I never had this great desire to overreach myself. I was too busy enjoying acting. I was just obsessed with it.
I get a lot of people saying to me, 'Oh, you're the actor who plays the nutters,' and I'm not. I'm the guy who plays human beings. I understand why the characters are doing what they're doing. When you play a villain, you don't play a villain: you play a human being doing what he thinks he needs to do to get what he wants.
I've got four kids to feed and a wife to provide for. It's a worry but a great responsibility as well and one I relish.
As children, we all hold on to the myth of omnipotence. Comics are successful because kids identify with superheroes. They'll read a book or watch a TV programme and say, 'I'm that guy.' And that guy is always the one in control.
When I think of character actors, I think of Spencer Tracy; I think of Gene Hackman, Robert Duvall. When I was a young lad watching films, my eyes were on them - watching 'On the Waterfront,' my eyes are on Rod Steiger and Karl Malden, not on Brando.
I'd love to play a Bond villain. Yeah, I'd love to play a Bond villain. Everyone always says this to me; they always say, 'You've got to be a Bond villain', 'We're going to make you a Bond villain...' But they've never, ever approached me, I've never had a whiff of it. I think I'd love to play a Bond villain; I'd have great fun.
I love the fact that everyone's trying to be good-looking in L.A. - then I turn up and I get work.
Mr. Norrell is like a librarian trying to do magic... That's the story of my career, really. I stand next to good looking men and make them look better!
The trick to acting is not to show off; it's to think the thoughts of the character. I was lucky because when I started acting, it was doing jobs above pubs. I learned to act in anonymity, so by the time people saw me, I knew what I was doing. I was crap for years, but no one saw me being crap. It's a trade you learn.
The trick to acting is not to show off, it's to think the thoughts of the character.
When you're the youngest and the only boy, you get spoilt but you get told you're spoilt so you don't get to enjoy it very much. I was the only man in the house because my parents divorced and my dad moved away when I was 13.
I've never played a gay character on screen, so that would be interesting. I've never played a gay character, and that would fascinate me because I'm not gay, so that would interest me.
Paddy Considine is a great friend of mine, and he is a natural actor because he is an artist, and I'm not an artist. If I ever blow my own trumpet, it's as a craftsman.
When I was a struggling actor, I worked for a party company. One of my friends from school was working for an advertising agency, and I turned up to one of his company's parties dressed as an alien to collect tickets on the door.
I don't look like Brad Pitt or Tom Cruise. When you put me on the screen, the women don't want to make love to me, and the men don't want to be me.
I thought 'Lock Stock' was a good film. I thought 'Lock Stock' was a good film because I think it was a one-off before it was imitated a hundred times.
What I love about the East End is that there's a great perseverance, determination and courage. What I dislike about it is that there is sometimes a celebration of ignorance.
My business is not to show anybody anything; my job is just to do it.
I consciously decided not to be a 'London' actor. Those gangster movies made a lot of East End actors think they were movie stars. And I was very aware that they were going to go out of fashion.
I have friends who are leading men, and they're only ever allowed to play leading men of a certain type. But as a character actor, there's a wider variety of projects available. On the big Hollywood films, all they care about is having their lead in place, so it's actually easier for someone like me to slip in. And I'm happy to do so.
There's no great mystery to acting. It's a very simple thing to do but you have to work hard at it. It's about asking questions and using your imagination.
I went swimming the other day and my wife was watching and she said, 'You know, it's funny, it's when you've got no clothes on, no one recognizes you.' I said, 'What are you saying? That I should do more love scenes?'
I sometimes think if I had gone to Oxford or Cambridge and looked like a handsome young guy who could be in an Evelyn Waugh novel or something, I'd be a massive movie star. But there's a longevity to what I do. It's more reliable. Someone isn't deciding that I'm the next big thing.
I used to do a lot of comedy. I don't know what happened. I think it's my face.
I see all these people talking about acting as a great spiritual thing. It's not. There's no great mystery to acting. It's a very simple thing to do, but you have to work hard at it. It's about asking questions and using your imagination.
I'm used to being in front of camera and knowing what to think. But if you're asking me to be me, I get very self-conscious. My job isn't to be me. Being an actor, people think you can do a eulogy at a funeral, a speech at a wedding. I find all that very nerve-racking.
I want to be respected as an actor. There's my ego. But I don't have a great need to be liked by an audience.
I'm not one of these actors who can make a bad script good. Some actors, a script can be terrible, and they can bring something to it and make it really special. I can't.
My idea is just to do something different each time; the next thing I do has to be completely different to the thing I've done before - that's what I try and do, because you know, I'm an actor, not a film star.
I wanted to work with Bryan Singer because I like his films.
I was brought up in a house full of women; the first time I realised no one was interrupting me was when I was on stage - that's probably the subconscious reason I became an actor.
I wasn't one of the ones voted most likely to succeed when I was at drama school, but I persevered and concentrated on the acting rather than going to the right parties and getting the right agent. Eventually, after ten years, it paid off.
Mike Leigh taught me about making choices - as an actor, you choose between being honest and clever, and with Mike, it's always about being honest. I learned how to behave on a film set from Jim Broadbent. He was a great example of someone with a fantastic career who kept his feet on the ground.
I'm the guy who plays human beings. I understand why the characters are doing what they're doing. When you play a villain, you don't play a villain: you play a human being doing what he thinks he needs to do to get what he wants.
Different races never fazed me because coming from Bethnal Green, I'd been around people of different races forever. Different class? That was much harder.
As a working-class actor, leaving school with no qualifications, being a printer and then becoming an actor and then working with people who to a certain extent had had a leg up. I never had that advantage. It's less an artistic need to express myself and more a need to prove myself.
I'm used to playing characters who have a lot to say but don't know how to say it.
The characters in 'Ray Donovan' are not very articulate - we're the worst Irish family you could ever live next to in L.A.
Magic symbolises the subconscious - that part of us that is creative and powerful that we sometimes don't tap into.
I always think of Gilbert Norrell as being Salieri to Jonathan Strange being Mozart.
I'm not a great fiction reader. I love history. I love history and philosophy.
I've got four kids - I unblock a toilet every day.
It's a very fascinating thing for an actor to play somebody who is suffering, and you have to express the suffering, but in an inarticulate way and sometimes a dysfunctional way, through violence.
I wouldn't have been interested in making a show just about Hollywood, 'cause I find Hollywood boring. I find people and families very interesting.
When you watch 'Ray Donovan,' you think that it's about Hollywood, about scandal, about stars, and about trying to keep secrets. That's true, but that's also just the means by which you reveal secrets of the people suffering every day life.
