The reason my kids come to the set is so I can actually see them.
I’ve never been someone that’s had a five-year plan, or a three-year plan. That just seems to lead to a lot of disappointment, and doesn’t give you the chance to be flexible.
I’ve worked with some of the great cinematographers. So I’m always watching what they do and I’m watching how the director composes his shots, just because I find it interesting as an actor; you’re trying to help them out as well.
I wasn’t going to be a college kid. The only subject I was interested in was English. I think I had a subconscious interest in analyzing story.
I’m realistic about it. It’s been quite some years since I’ve worked full-time in that area, so I no longer have any material that bears any relevance to my life or the audience. I’d need to take probably a year off, which I wouldn’t be prepared to do, so it’s a romantic ideal.
I think I wasted a lot of my youth, falling for girls who were a couple of years older than me.
I’m always one time zone behind myself.
I love working with people who have had television experience because I think there’s a real efficiency and methodology that comes from that background.
The thing I love about working with first-time directors is that it’s always quite shocking how little difference there is between them and directors who’ve been directing all their lives.
Throw your children in the surf and let them get used to it. They have to learn all about rips and tides and swimming between the flags and all that sort of stuff. I know that sounds ridiculous but it’s true.
I never really think much about the size of a production because I think as an actor, once you’re in it, it’s all the same. I never ever pick projects based on their size.
If I read something and I love it, I’ll do it and I don’t even ask what the budget is.
I tend not to read the size of the production into a script when I’m reading it. It’s just something you respond to or not and I do think it’s very dangerous to say it’s time now to do this or it’s time now to do that.
You have to be proactive about your destiny and then realize that the other half of it is completely out of your control. I think it’s fascinating.
I knew a bit but we don’t study a lot of British history at school in Australia. We have our own 50-year period to concentrate on.
But it’s healthy – whatever you can do to keep you fresh and awake. Acting’s such a ridiculous job and sometimes you need to look at it like that to get a sort of degree of freshness.
I always use the analogy that when you go to a jeans store and put on a new pair of jeans, it’s a pair of jeans and they feel different; so, when you’re dealing with these sort of costumes it’s a very big departure and really does make you feel quite different. But it’s wonderful.
There’s a plethora of wonderful documentaries. I made a point of not looking at anyone else’s portrayal of Henry because I think it would have been too confusing – so I’ve got a lot of films to look forward to.
If a great comedy landed on my doorstep, I would find it hard to say no.
I don’t like working in a studio, at all. I just prefer to be on location, rather than hearing the bells of the studio going off. It’s like being in Las Vegas, where no one knows the time and there are no windows.
Without a doubt, rowing is the hardest thing you can attempt to lean in a short period of time.