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Kids are more genuine. When they come up and want to talk to you, they don't have an agenda. It's more endearing and less piercing to your aura.
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It's about how you exist as a person in the world, and the idea that your work is more important than you as a person is a horrible, horrible message. I always think about a little gay boy in Wisconsin or a little lesbian in Arkansas seeing someone like me, and if I cannot be open in my life, how on earth can they?
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My feeling about work is it's much more about the experience of doing it than the end product. Sometimes things that are really great and make lots of money are miserable to make, and vice versa.
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I'm not a fan of Twitter.
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I think American actors are much more intimidated by Shakespeare.
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With Urban Secrets, I just really liked the idea of wandering around chatting to people.
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Macbeth was the first play I ever read.
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Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.
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So the experts think we could have an AIDS-free generation in Africa by 2015, even if the mothers are positive.
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I think directing in a team is a really good idea because it stops the cult of the director as God straight away, and also you're discussing things on set so it opens it out to everyone and it becomes a totally collaborative thing. And you have someone who supports you when you're feeling a bit insecure.
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I actually find in America, there's a slight snobbery about actors who go back and forth between big heavy dramas and popcorn fare. That always intrigues me, because that doesn't exist in the same way in Britain. And I imagine it would be worse. In terms of the sort of class, and the sort of snobby, slightly on the back-foot thing Britain has. But it's much more prevalent in America. I'm really intrigued by it. I don't know why that is. But I'm aiming to break down those barriers by being in a Shakespeare film and a Smurfs film within six months of each other.
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Sometimes people do you a favour when they drop out of your life.
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Performing a one-man Macbeth feels like the greatest challenge.
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I was horrified when Richard Chamberlain and Rupert Everett said gay actors should stay in the closet. They were saying to people that they should live a lie and not be liberated, to live in fear of being found out.
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I was so scared of going back to the theatre after Hamlet. I didn't know if I'd do a play again because I was afraid of the power of it.
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I don't feel I'm a compulsive person. I multitask. I'm really well-organised, and I have lots of people to help me.
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I've actually found - especially doing my cabaret show - I'm connecting with people in a way I haven't connected with them. I've found that when you're open and honest, people respond to that, whatever you're being open and honest about. You could then, when you lay that as the groundwork, say, "Here I am. This is what I think. I come in peace." Then you're able to push out, to be able to talk about more things. And that's been a really heartening thing about my life, actually.