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.

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.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

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.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.