I certainly gained a lot by reading about Shanghai.

There's a lot of people who feel there's a tabloid journalist who had it coming.

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

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.

In the studio system, things are expected of a film. By the first, second, third act, there's a generic language that comes out of the more commercial system.

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 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.

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.

Little moments can have a feeling and a texture that is very real.

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

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

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.

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

You have to just dive over the edge. You haven't got time to mess about.

You feel yourself working to show something. I've learned to distrust that feeling.

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 went out to Mount Kilimanjaro, which I thought was very beautiful, but there were a lot of people there.

One of the things that binds us as a family is a shared sense of humor.

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

I certainly gained a lot by reading about Shanghai.

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

I got to read some writings by serial killers, and they got inside my head. They were quite disturbing. I read disturbing stuff about that very detached way of manipulating people to do things.

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

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

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.

I'm sure acting is a deeply neurotic thing to do.

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.

When she was younger, my mother was quite committed to Roman Catholicism. But she got disillusioned with it and moved closer to something like Buddhist beliefs near the end of her life.

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

Gardeners are good at nurturing, and they have a great quality of patience, they're tender. They have to be persistent.

I like to keep fit, but I never lift very heavy weights.

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.

Within the process of filming, unexpected situations occur.

Actors use who they are to be someone else, but I would hate to ever think I'm playing myself. It's imagining being someone else that is the key motivating thing for me. So when people want to know about me, it makes me a bit unnerved.

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.

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.

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

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.

He's really sort of the devil. He's completely emotionally detached. He has no empathy. You find that in psychopaths. It's about power with Voldemort. It's an aphrodisiac for him. Power makes him feel alive.

I have grown up loving Shakespeare.

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.

I think Shakespeare is like a dialect. If I heard a broad Scots accent, I'd probably struggle at first but then I'd start to look for words I recognise and I'd get the gist. I think Shakespeare is like that.

I tried to play rugby but was never very good.

I'm not very good at being domesticated. I've tried. The domestic life I find claustrophobic - the rituals and habits and patterns.

I've never felt fallow in the sense that there's been no work.

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.