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I try to choose the projects that I think are the most well-written and well-executed, and the rest of it is so beyond my control to be almost not worth thinking about at all.

I wait and take on projects that I think can work.

I just choose the scripts I want to work on. I don't know why. It's not something conscious or that I'm doing on purpose.

Once I'm committed to a role, I will go very deep into it, even when I'm not at work. I'll keep on studying the script, maybe 40 or 50 times. I might call a scriptwriter at three in the morning to say I've thought of something new.

I've found that sitting around and obsessing about projects moving forward, when there's actually nothing I can do about it, at a certain point, is really counter-productive.

I think my tendency when working is to try and find what's lacking in my current project and then tackle that in whatever I do next.

When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.