When I first filmed things, they were always slightly awkward.

I certainly gained a lot by reading about Shanghai.

God is not anything human. God is a force, God is chaos, God is unknown. God is terror and enlightenment at the same time.

I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.

There is a tension in relationships between wanting to return to the womb, but also wanting to be free. Because sometimes the woman's attentions can be overly maternal, and you want to go, 'Ahhhh!'

Going to the movies was a big event in my youth. My father would be the initiator - he'd have me put on a jacket to see a film.

I couldn't get as big as a bodybuilder. I tried to put on as much weight in the right places as I could. My weightlifting was impressive for me, but not for some of the guys I see down at the gym.

I veer away from trying to understand why I act. I just know I need to do it.

I admire the world of the books and the characters that she's created, but I'm not an addict of Harry Potter. I don't feel possessive about it.

I can't go and shoot people in the back of the head because It's a kids' movie, which is actually quite a good test because you haven't got the overt threat of a knife in the face.

I don't feel particularly comfortable about actors using whatever power they may have to push their beliefs, unless they're extremely well informed.

I don't plan a career. That doesn't work for me. I just have to go with my gut.

I have a lot of stuff I want to talk about and offer up. It would be odd not to have ideas about something.

I respond to a part just intuitively when I read a script.

I was grateful to have two weeks to shoot this one scene in Harry Potter. It's a big, big scene, but they have to deliver. And they have high expectations.

I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.

In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.

It was just two energies between two people, you can't prescribe that.

Kenya doesn't have much of an infrastructure for hosting a film.

Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.

The film depends on the audience's belief in this relationship.

The sets were fantastic. The Harry Potter sets are brilliant. You do get transported for a second.

There are those moments when you shake someone's hand, have a conversation with someone, and suddenly your all bound together because you share your humanity in one simple moment.

There's a challenge to playing these fantasy figures because they are fantasy figures. You have to enter into this sort of imaginative world of the writer.

We'd all like to believe that perhaps people could stop killing each other.

You're meant to be playing the distillation of evil, which can be anything.

As an actor, there's a bit of you that's decided you want to be looked at and watched, but there's a paradoxical bit that wants to run away.

So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.

Being an actor means asking people to look at you. I guess I accept that. But it's a profession in which the job is to show another world and other people. You may access it through bits of yourself, and your imagination and experience, but actually, in the end, you're not playing yourself.

And although I've been very fortunate in the film work that's come my way, I need to get back to the stage. If I'm away for a maximum of two years, I feel something's wrong.

When theater becomes a soothing middle-class thing, when it's packaged as the Night Out, then that's the death of it.