The hardest part of directing is the choosing. Unlike an actor who can do a variety of work, it is a year of your life, you can't afford to get it wrong.

I think we all have blocks between us and the best version of ourselves, whether it's shyness, insecurity, anxiety, whether it's a physical block, and the story of a person overcoming that block to their best self. It's truly inspiring because I think all of us are engaged in that every day.

When I was growing up my mother would say, 'Your dad may have to learn about being a father because he lost his own and that would have affected him'.

In 'The King's Speech,' patriotism is utterly contained within a historical moment, the third of September, 1939, where the aggressor is clear, the fight is clear, it hasn't become complicated over time.

After my grandfather's plane took enemy fire, he was denied permission to land at the first available airstrip. In that classic British bureaucratic way, they said he had to go back to your own airbase in the Midlands. They crashed between the coast and the airfield.

I feel connected to the Second World War because my father lost his father in that war. So, through my dad and the effect it had on him of losing his father young, I always felt connected to the war. It goes back years, but it still feels to me as if we're completely living in it.

I think I would say 'The King's Speech' is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there's more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending.

I decided to be a filmmaker when I was 12. I had utter clarity that this would be my life.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

What I learned about stammering was that, when as a young child you lose the confidence of anyone who wants to listen to you, you lose confidence in your voice and the right to speech. And a lot of the therapy was saying, 'You have a right to be heard.'

The hardest part of directing is the choosing. Unlike an actor who can do a variety of work, it is a year of your life, you can't afford to get it wrong.

Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.'

With the coming of radio as a mass medium, suddenly the world changed. It became about, 'can this leader project emotional connection through the way he speaks on the radio?' And the anxiety about whether he could do that, we've inherited.

My dad said, 'The thing that I was told that was really helpful was that I mustn't be afraid of the things I was afraid of when I was five years old'. The shock of his childhood had put him in this defensive crouch against the world, and he needed to know that he had a nice wife and kids and it wasn't the same any more.

American cinema tends to express a patriotic relationship to national identity on a regular basis.

American movies are often very good at mining those great underlying myths that make films robustly travel across class, age, gender, culture.

I appear to be drawn to iconic characters and what they reflect back to our cultures.

I come from the kind of family where work is work; my parents always taught me that it's better to be doing something than sitting around doing nothing.

I find that after a screening, people really want to come and tell you what they feel.

I love the incredible variety of demands directing makes on you, from the entrepreneur to the hustler to the deal-maker to the writer; to directing actors and the camera and working with music, sound, marketing and promotion. It uses so many sides of your brain.

I think English film is very embarrassed by patriotism, generally.

I think directors can become overly infatuated by gilt and gold, and the word 'lavish' and everything being magnificent.

I think the thumb print on the throat of many people is childhood trauma that goes unprocessed and unrecognized.

If you look at Shakespeare's history plays, what the setting of monarchy allows is this extraordinary intensification of emotions and predicament.

Some films clearly seem to divide people. And I do think there's something incredibly exciting about the commonality of us as human beings, which some films are lucky enough to tap into.

The more uncompromisingly specific you are the more you end up touching the bigger universal truths.

What's fascinating about the Australians is they have this quality that they are impervious to majesty. They're not awed.

With the coming of radio as a mass medium, suddenly the world changed. It became about, 'Can this leader project emotional connection through the way he speaks on the radio?' And the anxiety about whether he could do that, we've inherited.

A British villain never loses their sense of humour.

My favorite actor is Wallace Beery.

I've been a very lucky actor.

I don't think I could be happy as an actor if there was a tyrant on the set.

When I was starting to get noticed as an actor in the 1970s for something other than the third cowboy on the right who ended up dying in every movie or episode, Burt Reynolds was the biggest star in the world.

Most parts that can be played by one actor can equally well be played by another, but not this.

I think, frankly, that I'm a better director than I was an actor.

I knew an actor's career goes up and down and back up again. Your standing in this business can't be your whole identity; otherwise, you're doomed.

I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.

I don't think there has been any increase in sophistication in the audience. When people are aware of a concept that's easy to understand, and there's an actor who will attract them to the theater and it's a movie that's funny three-quarters of the time, it will be successful.

I never dreamed about being an actor, because that was out of reach. Coming from a small town that was big in farming, and also big in clothing factories, you don't dream about being a professional football player or an actor.

My goal was always to be recognized as a good actor but no one was interested in that, simply because society just wants to warm towards your appearance. This is the great blemish of society.

If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable.

To be honest with you, when I got into this I never thought about reviews. I never thought about what people would say about me. I was just a young guy who was excited to become a comedian and an actor and I just wanted to get to do what I got to do.

It was very natural for me to want to disappear into dark theater, I am really very shy. That is something that people never seem to fully grasp because, when you are an actor, you are meant to be an exhibitionist.

I think that I've still not been successful at playing the role of the retired actor, and I'd like to work on that.

And once you cease to be a real person, you stop being a good actor.

When I decided I wanted to be an actor, I said I wanted to work with quality actors and directors.

There are roles I want that my agency might not want me to do because of the subject matter or whatever. Or there are roles that people won't bring to me because they don't think I'll do it. And that is a big strain because an actor wants to act.

Reality is, I'm an actor and an entertainer, and I really wouldn't know what to do with another profession.

I still feel like I'm trying to make it. It's hard to shed the struggling actor thing.