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.
Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
My feeling about work is it's much more about the experience of doing it than the end product. Sometimes things that are really great and make lots of money are miserable to make, and vice versa.
Usually, there's a story I've told that leads up to why I'm singing the song. The whole concept of the show was about being authentic and connecting with these songs. The best way to do that was in a room with an audience and for people to listen to that.
Finally, the scariest thing about abuse of any shape or form, is, in my opinion, not the abuse itself, but that if it continues it can begin to feel commonplace and eventually acceptable.
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.
If you are a cabaret artist and you are mostly singing other people's songs, you're asking them to rethink a song, listen to it in a different way. The most impact you can have while asking them to re-listen to a song is if it's a song they know very well.
Nowadays people don't know how to handle it if all the ends aren't tied up and they're not told what to think in films. And if they're challenged, they think it's something wrong with the film.
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.
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.
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.
It's exciting to be with really, really good people. Some people make you feel like you've got to up your game. Working with good people is always good.