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.
When you're on TV, you come into people's homes. In theater and film, they go to you - to the temple of the cinema or theater. And it's very different.
I come more to Scotland than I ever used to, so I feel more connected to it, more part of the zeitgeist. You know when you realize you have a choice and I'm choosing my homeland. It's funny: when you get older these things creep up to you.
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.
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.
You do get really exhausted doing films. You work such long hours, and after a while, things can get out of perspective, just like if anyone's tired, things get on top of them.
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.
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.
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.