Certainly as actors, and maybe as directors, you've got to hang on to something childlike. You've got to know what play is. I haven't worked with Mike Leigh, but I know him very well and there's something open in his eyes about what's in front of him. And the same is true of Alfonso in a Mexican, mad way. There's an enthusiastic response to something. Neil Jordan, the same, when he gets excited . You just want to know there's a human being in there.
I love perfumes. Every morning when my girlfriend and I come down to the courtyard in our block of flats we're assailed by the most delicious scent - jasmine round a doorway. It almost makes me swoon.
I approach every part I'm asked to do and decide to do from exactly the same angle: who is this person, what does he want, how does he attempt to get it, and what happens to him when he doesn't get it, or if he does?
I've learned, having been on a lot of sets, the good news is that by definition you are surrounded by experts. They get fired if they're not - unlike in the theatre!