In theater, you've got to be aware of your whole body because it involves stamina. It involves two-and-a-half hours and a sustained release of energy, maybe for six months.
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?
There's, like, marks next to an actor's name or something, and boy does that go up and down! Somewhere in there, which always causes my mate Miss Ruby Wax great hilarity, I was offered a biopic of Frank Sinatra. Even I knew that was a bad idea! They'll throw anything at you at certain times. So, you know, to thine own self be true.
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.
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.