What moves me in art is how we question who we are as people.
I’ve never felt fallow in the sense that there’s been no work.
I don’t plan a career. That doesn’t work for me. I just have to go with my gut.
I don’t feel particularly comfortable about actors using whatever power they may have to push their beliefs, unless they’re extremely well informed.
I like to keep fit, but I never lift very heavy weights.
As an actor, there’s a bit of you that’s decided you want to be looked at and watched, but there’s a paradoxical bit that wants to run away.
The film depends on the audience’s belief in this relationship.
I admire the world of the books and the characters that she’s created, but I’m not an addict of Harry Potter. I don’t feel possessive about it.
It was just two energies between two people, you can’t prescribe that.
God is not anything human. God is a force, God is chaos, God is unknown. God is terror and enlightenment at the same time.
I think Shakespeare is like a dialect. If I heard a broad Scots accent, I’d probably struggle at first but then I’d start to look for words I recognise and I’d get the gist. I think Shakespeare is like that.
When she was younger, my mother was quite committed to Roman Catholicism. But she got disillusioned with it and moved closer to something like Buddhist beliefs near the end of her life.
There is a tension in relationships between wanting to return to the womb, but also wanting to be free. Because sometimes the woman’s attentions can be overly maternal, and you want to go, ‘Ahhhh!’
I got to read some writings by serial killers, and they got inside my head. They were quite disturbing. I read disturbing stuff about that very detached way of manipulating people to do things.
So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.