I heard the various terms of abuse at school and probably indulged them in the way you do as a kid.
What goes down on film is different to what you see with the naked eye.
Thank you to everybody who voted for me, and to the British public for their encouragement over the last 17 years
Twelve years on sets watching directors, I've taken a bit from everybody and rejected a lot.
Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.
I used my instincts. It's very easy to imagine how you'd feel, actually. I just had to tell the narrative.
Jacobean plays, before Shakespeare, were particularly visceral.
I went being unemployed for three years to being the lead in a British feature in the days when we only made two a year, 1990. It was ridiculous really.
On The Others, very atmospheric and probably mysterious is how I would say it felt to be on the set. It felt just a little uneasy, the atmosphere that we were trying to capture.
We like to think that our parents made a decision to bring us into the world.
I only ever worked on interiors, and an interior is an interior. I don't know what they did about exteriors.
I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.
I had to help to coax the performances and I really enjoyed that extra responsibility.
I had bags of energy as a kid.
I don't see a lot of films. I'm quite choosy, but there's certain films that stick out.
Any horror element is as much psychological as special effects.
I want to direct but I think I'd be bloody awful and I don't want to produce but I think I'd be a very good producer because if I believed in something I'd be able to protect it.
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