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I think there should be laughs in everything. Sometimes, it's a slammed door, a pie in the face or just a recognition of our frailties.
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The point about a great story is that it's got a beginning, a middle and end.
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England in the '60s and the '70s was everything that history has said; it was phenomenally exciting, musically.
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Acting is mostly about listening. If you just focus in on what the other person is saying, acting takes care of itself to quite a large extent.
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I get stage fright and gremlins in my head saying: 'You're going to forget your lines'.
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Why don't I like you?" "Because you think I'm an asshole, and I'm not really, I'm just British and, well, you're not.
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Maverick is a word which appeals to me more than misfit. Maverick is active, misfit is passive.
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I think there's some connection between absolute discipline and absolute freedom.
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Older people say, 'Oh I loved you in 'Sense and Sensibility,'' and that's the only film they want to talk about. Equally, there are people who only want to talk about 'Galaxy Quest.' And there's a whole bunch of teenagers who only want to talk about 'Dogma.'
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The first time that I came to New York to work properly was the mid-'80s, but I was doing eight shows a week. You have no life. Going to a punk rock club - or whatever the music was at that time - would not have been on my agenda.
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I've learned, having been on a lot of sets, the good news is that by definition you are surrounded by experts. They get fired if they're not - unlike in the theatre!
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I do feel more myself in America. I can regress there, and they have roller-coaster parks.
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Those of you who are not aware of my brilliant career as a stand up comic, I'm not aware of it either so we might well wonder what we're doing here.
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Los Angeles is not a town full of airheads. There's a great deal of wonderful energy there.
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My definition of palatable might be slightly different from yours.
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I want to swim in both directions at once. Desire success, court failure.
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I'm still living the life where you get home and open the fridge and there's half a pot of yogurt and a half a can of flat Coca-Cola.
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Each character I play has different dimensions. I'm not interested in words that pull them together.
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The audience should feel like voyeurs. Their response is absolutely crucial.
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Three children have become adults since a phone call with Jo Rowling, containing one small clue, persuaded me that there was more to Snape than an unchanging costume, and that even though only three of the books were out at that time, she held the entire massive but delicate narrative in the surest of hands.
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I can only guess at the pressures of funding an independent theater company in New York, but calling this production 'postponed' does not disguise the fact that it has been canceled. This is censorship born out of fear, and the New York Theatre Workshop, the Royal Court, New York audiences--all of us are the losers.
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You can act truthfully or you can lie. You can reveal things about yourself or you can hide. Therefore, the audience recognizes something about themselves or they don't -- You hope they don't leave the theatre thinking that was nice...now where's the cab?'
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I'm a quite serious actor who doesn't mind being ridiculously comic.
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Acting is about giving something away, handing yourself over to whatever role you are asked to play. I'm not hiding or escaping or seeking anonymity. I reserve the right not to have a rubber stamp on my forehead saying this is who I am. Because who I am gets in the way of people looking innocently at the parts I play.