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It's a very fascinating thing for an actor to play somebody who is suffering, and you have to express the suffering, but in an inarticulate way and sometimes a dysfunctional way, through violence.

In reality I have said very little things; I didn't point out many things to Geoffrey, I trusted very much not only his understanding of what I was doing, or what I wanted to do, in that moment.

No day-to-day mishaps or indignities can really compromise your sense of self after you've survived a deep tragedy.

When you study, as I did, every theatrical beginning in this country, none of them have been greeted well. The Royal Shakespeare Company was a disaster, Peter Hall was a disaster, Richard Eyre was a disaster, Trevor Nunn was always a disaster.

Characters who experience great trauma will sometimes create an escape.

Most people, even among those who know Shakespeare well and come into real contact with his mind, are inclined to isolate and exaggerate some one aspect of the tragic fact.

I damaged my health during 'Les Mis,' which I didn't want to mention in case it seemed like I was courting sympathy.

'Castle' isn't really affected emotionally by murder. He's thrilled about, 'Oh, my God, I wonder how this happened?'

What surprised me most about the Donner tragedy was that, given the terrible circumstances, how anyone survived at all.

Yes, I've been very preoccupied with the survivor all through my work.