They're naughty, all those writers - they mess around with people. I know James Gandolfini got a bit fed up on 'The Sopranos': if he said anything in front of a writer, told them a story from his life, it could make its way into the script.
It's that TV thing. You can be in the biggest film of the year and it will still not have the kind of impact a TV series has. Once you're in people's living rooms, that's it. There's no hiding place.
I get claustrophobic in a harness. I'd be a terrible superhero.
A few years ago, if you had told me I'd be moving back to Glasgow I'd have said, 'No way'. But it's changed. It's much more vibrant, bohemian. But I'm 35 and I've become a bit of a homebody, I don't really go out much. Same in New York. My home could be anywhere but I love Glasgow.
I tend to get cast as a certain type of quiet, almost introverted person who's strong on the inside, but the characters are so very different I don't see it as any kind of typecasting.
I love that thing on Amazon that you can go on and order a book, and you click on it and it says, 'You might also like,' or 'Other people who bought this have bought that.'
I'm no good at anecdotes.
I'm so not a celebrity.
I've done TV and I've done film, and I'm not snobby about it. It's about the project.
It can get a bit boring working on accents.
What I'm normally associated with are darker, more brooding roles.
It was both comforting and terrifying to go in to audition for 'The Girl in the Cafe,' as I'd worked with everyone in the room on 'State Of Play.'
L.A. is brilliant, but however long my trip is I'm always ready to leave. But New York I'm never quite happy to see the back of.
I don't lobby where work is concerned. As long as I know I've got something coming up, I don't really worry. It's not that I'm not ambitious, but I don't have a drive to be hugely successful and be working all the time.
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