All actors are on the run from some demon or other.

As a fortysomething actor, you reach a plateau of maturity from which you can really get stuck in.

I subscribe to that school of thespian - to be a wandering minstrel or traveling player, a thing ofrags and patches, of ballads, songs and snatches.

I'm more enthusiastic and excited about work than ever. I know now what I'm about.

If one is reported as having set up camp overseas, it's as if one has made oneself unavailable.

The thing about Mumbai is you go five yards and all of human existence is revealed. It's an incredible cavalcade of life, and I love that.

There was a time when it would be a great scandal if you announced you were going to be an actor.

Acting has been gentrified. It's become part of the bourgeoisie. But there was a time when it would be a great scandal if you announced you were going to be an actor.

Actors have a magic gene within them - I think they're the finest descendants of rogues and vagabonds - and it's all too easily forgotten what the acting legacy is.

I just love doing broader work - I always get asked to do fairly heavy-duty, intense dramas and interesting, psychologically intense characters. But you know, it's nice to make people laugh sometimes.

I think there is an immense charm and humanity about the Bollywood structure, probably in the way there was about Hollywood film in the '30s and '40s. Somehow they were less distracted about hardware, and more about production values and people, you know?

If you watch Olivier's interviews, he has this reptilian tongue; it seems too big for his mouth. My pursuit of that became distracting, so I let it go. The thrill was finding the right pair of glasses.

Nobody could dissapear to their trailer once it was up and running, you were all there on the same stage. It was 10 days of rehearsal and 10 days of shooting, which was very tiring.