Every actor wants to have a character that changes, that has some kind of movement, that gets from point A to point B, that doesn’t just supply one note.

Ive done Hay Fever and this one was called Another Time by Ronald Harwood.

My son tried to work in films and he ultimately gave it up, he finally couldn’t make a living, he couldn’t support himself. He worked all the time and he didn’t make enough money to have a house, have an apartment.

Part of the film business is, if you want an apple, you buy an apple.

If you’re an employer, you want to hire an employee who’ll do their job, not do your bidding.

A lot of the reasons why something is a favorite thing are all things you don’t necessarily see, the place, the people, the time, where you are, what it meant to you at the time.

I think the same way about theatre, you go out there and you are creating a world for a moment that can actually have a real impact on people, present some kind of story that gives you something to think about when you walk away, feeling enriched – if it works out well.

My job is to help the functioning of the story, not to draw attention to myself, but to make my characters function within the story, to work for the benefit of the story, to make the whole thing work.

Every actor wants to have a character that changes, that has some kind of movement, that gets from point A to point B, that doesn’t just supply one note.

I’ve been awfully busy, and I haven’t gone to many movies.

I got a phone call from Douglas Campbell and from Jerome Guthrie, who offered me a job out of the blue.

I know a lot of people who are very good at their craft who have learned – people behind the camera – who really have a lot to offer because they know what they’re doing, they know what to do, they’ve made their mistakes.

I’ve gotten to go wonderful places, meet interesting and intelligent people, and I started of course in the theatre and continue to work in the theatre where there is some intelligence involved in it.

But it’s true, it’s nothing new that decisions about what movies are to be made, and how they’re to be made, and who’s to be hired to do what, and whether you hire somebody to do their job, or whether you hire somebody to fill a position and you tell them what to do.

And from my character’s point-of-view in Ravenous, he had been collected by Robert Carlyle’s character, he had become infected by this ravenous, cannibalistic power, and he was making the best of it.

I only know from my own personal experience, and I personally feel that there’s a cyclical nature to things, so you don’t want to start making generalizations about how bad things have become in comparison to the old days.

I just hope that some of the movies I’m in are still welcome years from now.

Certainly Amadeus because it was a very powerful time for me, we filmed it in the Czech Republic at a time of lots of social and political change going on in that part of the world.

I would like to feel that I have a range and that it’s not just a matter of being a comic actor or a serious actor, because those are really artificial classifications, I think.

There may be the kinds of things that you may find interesting, but then there’s also the practical reality of needing to make a living and this is what you have to choose from.

So when you make an impression in a certain kind of role, that tends to be the type of role that you get offered.

Well, I think that there is a connection between being a lawyer and a doctor and an actor. They kind of, in some ways, have the same appeal, I suppose.

This outfit called Los Angeles Theatre Works does readings of plays.

Well, my brother was a schizophrenic, so I understood it in a different way from seeing my brother.