I respond to a part just intuitively when I read a script.

I tried to play rugby but was never very good.

I veer away from trying to understand why I act. I just know I need to do it.

I went out to Mount Kilimanjaro, which I thought was very beautiful, but there were a lot of people there.

I'm not very good at being domesticated. I've tried. The domestic life I find claustrophobic - the rituals and habits and patterns.

I've never felt fallow in the sense that there's been no work.

If I had a gun to my head and I had to choose between theater and film I'd choose theater.

In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.

It was just two energies between two people, you can't prescribe that.

Kenya doesn't have much of an infrastructure for hosting a film.

Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.

The sets were fantastic. The Harry Potter sets are brilliant. You do get transported for a second.

There's a lot of people who feel there's a tabloid journalist who had it coming.

What moves me in art is how we question who we are as people.

When I first filmed things, they were always slightly awkward.

When theater becomes a soothing middle-class thing, when it's packaged as the Night Out, then that's the death of it.

You dread that there will be real problems during filming.

You have to just dive over the edge. You haven't got time to mess about.

You're meant to be playing the distillation of evil, which can be anything.

So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.