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Pushing the boundaries of what is expected of you is important to me.
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The thing that is always so surprising about plays written in another century is how remarkably elastic they are. When you listen to the way in which Shakespeare attacks relationships, for example, even though the words may start off sounding foreign, in actuality they are so accessible, the motivations so clear, the resonances so contemporary. When you put it in a modern context - we could well be in a place with someone like Gaddafi or Mubarak - it becomes apparent how Richard III resonates with that type of personality, with media and manipulation, alliances and petty jealousies.
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Politics and acting are very closely tied. The job is to convince.
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Essentially, your voice is an instrument; its a muscle, and you have to treat it like a muscle, and so you have to work it.
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Over a spell of about three years, I played a series of roles that were, for me, all very different, but most of them came out within a six-month period. They all dealt with a kind of dark territory that in some cases had been mined before in movies.
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There's something really incredible about watching what someone else does with a role that we know: the Hamlets or the Henry Vs or the Othellos or the Cleopatras that we've seen on stage.
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I can imagine there is going to come a time when someone will do 13 hours of a story without breaks.
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Whether thats positive or not, people are talking about the Old Vic Theater again with passion and commitment and controversy and debate.
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There are ways in which you can make sure that even if people come to the theatre because they know an actor or actress, by the end, theyve forgotten that, and they leave going, Wow - what an amazing play.
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Studios and networks who ignore either shift - whether the increasing sophistication of storytelling, or the constantly shifting sands of technological advancement - will be left behind.
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I certainly identify with the role of mentor and, to some degree, maybe teacher. I do a lot of work with kids at the Old Vic.
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Kids arent growing up with a sense of television as the aspirational place for their ideas.
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The less you know about me the easier it is to convince you that I'm the character on screen.
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Im able to hang up the character with the costume at the end of the movie.
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It's so easy for us to misperceive and see the things in others that we want to see. And, when we're wrong, and often we're dead wrong, we miss the truth.
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My job as an actor is to serve the writing and help the author get his ideas across.
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Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.
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As a producer or financier, you are going to go where you get the best bang for your buck.
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I couldnt imagine something asking as much of me as House Of Cards. Its a great warm-up for coming back to the screen.
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I dont play villainy. I wouldnt even know how to play it.
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My job consists of basically masking my contempt for the assholes in charge, and, at least once a day, retiring to the men's room so I can jerk off while I fantasize about a life that doesn't so closely resemble Hell.
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Im not revolted by Washington.
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My mother was sarcastic and delightful and, trust me, quite remarkable.
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I'm a relatively ugly character who's done pretty damn well in film.