My focus never wavered; I never accepted the film was not going to be finished.

In terms of jumping into a character's skin, I try to immerse myself in the role as much as possible to bring me closer to them. All I do is what's required to achieve what I want to achieve.

Method acting is a label I don't really understand, because there's a method to everybody's acting.

Fairfax was incredibly important to the shaping of the country.

I just love jumping into someone else's life. It is a relatively cheap way to experience things you would be too scared to contemplate in your own life.

People go to see a film because it's a great story and it's visually exciting to watch.

Sometimes you just can't walk away from films you're offered, like the Dylan Thomas thing.

Being a salesman and an actor were not that dissimilar: It is a good lesson in covering up your feelings. No one wants to buy from someone who looks depressed.

I'm doing a Dylan Thomas film, Map of Love, with Mick Jagger producing again. It's a wonderful script.

I don't like acting things; I like feeling things.

I got involved in script development from the beginning. It was nice to see how a film gets made right from the beginning. It was quite hands-on for me.

You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.

It's difficult to get films made, especially films about poets.

Sometimes people say to you that you should try to be in a bigger film, but it's the way it pans out.

I am an actor through and through.

You should be careful what you wish for, as the reasons for war get confused. One person can be very clear in their motives, but others can have different agendas.

Sometimes it is easier to play someone who is far away from you.

What was the reason for invading Iraq' Was it a humanitarian crusade or an economic one' I would be inclined to say the latter. It was the same with the Civil War, because the landed gentry's money was being stolen by the king.

The point is to be involved in the moment.

My focus never wavered; I never accepted the film was not going to be finished.

It quite often happens that they attach a name to a project and it doesn't get all the financing it needs.

The success of the film is down to the crew.

When you do bigger films, the financiers take more risks.

With the situation now, people might be intrigued to see how a country coped with war all those years ago.

I try and do films I know I'm going to enjoy watching as well as being in.

You'd have to have one hell of an imagination to completely make up a story, but historians are very anal about what they think should be portrayed on screen. Thankfully they don't make movies; we do.

You couldn't take football away from me, you couldn't take acting away from me.

You grow up a lot in terms of your understanding of the industry and how to deal with the corporate things.

When I'm playing a character like Jonathan in Ripley's Game I want to be in the moment when he's feeling pain; this very ordinary person who finds himself in extraordinary circumstances.

It's nice to be asked to do good projects.

I tend to do golf charity things because it's much safer and you don't get much chance of a broken arm or leg.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.