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I think in some ways I'm quite lucky to be living in London, there's this certain separation from the movie business. In that way, it's been quite easy to separate acting and going back to a normal life.

There is a whole bunch of great British actors of my age who aren't film stars or theatre actors; they're very much both.

Before 'Local Hero,' I'd been knocking about Glasgow in rock bands, drinking too much and generally being 21. My opinion of actors was that they were straight and boring, so you see, I was completely unprepared for being one.

The strength of British theatre should be that these actors in their middle years know what they're doing and are good at it. Not rich, not famous, but making a living.

After I found that I had become an actor, slightly to my surprise, I did have some insecurity, and I did take some rather strange acting classes at a place called The Actor's Studio in London. I don't think they did me any good at all.

I had a growing career as a model and an actress in London - I had starred opposite Michael Caine and Sidney Poitier in 'The Wilby Conspiracy' - but everyone told me to stay in Hollywood. This was the place, they said, and I could have a big career. What they failed to mention was that no one would quite know what to do with me.

There's just a big group of actors in London. There are new ones coming in all the time, who are looking for work, and established actors who are interested in working and like to work. To be a working actor in England is a life.

I grew up in suburban Brisbane, so to say you wanted to be an actor was a ridiculous concept.

I've found a lot of the thinking in America is that a lot of people become actors to become famous. At least from my experience, I have a dozen or so British friends who are actors, and if you look at their body of work, and they'll go do theatre, and they'll go do this and this. They work, and they're always honing and trying to be better.