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The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.
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I’ve really noticed over the last few years how many people are turning towards eating vegetarian or vegan. … Everyone’s realizing that these things are delicious and good for you. And I think it’s an indication of how we’re becoming more conscious of what we do to our bodies by what we put into them and what we do to the planet.
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I think American actors are much more intimidated by Shakespeare.
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It's interesting, for me sappy means sentimental and something that gets you in your heart, gets you emotional. That's what I mean. Also, of course, it means that I'm slightly setting up the audience that there's a bit of fun involved, as well.
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It's actually quite a good ethos for life: go into the unknown with truth, commitment, and openness and mostly you'll be okay.
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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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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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With Urban Secrets, I just really liked the idea of wandering around chatting to people.
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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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Sometimes people do you a favour when they drop out of your life.
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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 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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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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Performing a one-man Macbeth feels like the greatest challenge.
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Macbeth was the first play I ever read.
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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.