I had to be a grown-up when I should have been a little boy, and now that I'm a grown-up my little-boyness has exploded out of me. I've lived my life backwards.
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I usually can find a way to do a character to make it real and work. But sometimes it's a struggle sustaining that, because there's such a level of personal involvement and personal, physical, and emotional distraughtness.
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I like working on things that are very different and that involve different disguises.
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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.
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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.
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I was so scared of going back to the theatre after 'Hamlet.' I didn't know if I'd do a play again because I was afraid of the power of it.
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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.
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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.
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It is not hard to feel like an outsider. I think we have all felt like that at one time or another.
