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It is a career of make-believe, of masks. We all have masks in life.

In Britain, the major public holiday used to be Guy Fawkes Day... that was celebrated on November 5th with things like bonfires and fireworks... I think that made Halloween seem preferable. The idea of having pumpkins and costumes and parties seemed much more appealing than burning down your neighborhood.

The leader of men in warfare can show himself to his followers only through a mask, a mask that he must make for himself, but a mask made in such form as will mark him to men of his time and place as the leader they want and need.

Masks are wonderfully paradoxical in this way: while they may hide the physical reality, they can show us how a person wants to be seen.

I certainly would absolutely never do what some of my American colleagues do and object to religious symbols being used, putting crosses up in the public square and things like that. I don't fret about that at all; I'm quite happy about that.

Because the mask is your face, the face is a mask, so I'm thinking of the face as a mask because of the way I see faces is coming from an African vision of the mask which is the thing that we carry around with us, it is our presentation, it's our front, it's our face.

Part of the plot was a knock that V wanted to bring down the government and bring chaos. I don't know why I thought of Guy Fawkes, because it was during the summer. I thought that would be great if he looked like Guy Fawkes, kind of theatrical.

The New York Times published the guest list on the front page. The masks were a brilliant concept.

You learn to rely on a few basic movements and use your voice to the greatest extent possible to convey your emotions. So there was a technical challenge there and a responsibility to create a character from behind the mask.