No acting, no production, could take the place of that moment when you come out in the dark on to the stage and the drummer plays four beats on the hi-hat and then lights and music. It just takes your breath away. No words can do what music can.
I always leave room for serendipity and chance.
I've got a feeling that with the best coppers - and in fact the best people in any field of work - what sets them apart is a maverick quality. People who are not afraid to bend the rules in order to achieve the universally desired end.
The Scottish are not shy when it comes to expressing themselves.
My first major role was in a play called 'Through the Leaves.'
I am very aware of how warmly Scotland is regarded around the world, and a vote for self-determination would raise our international profile even further, with lots of benefits for Scottish arts and culture.
For me, acting is a series of impressions rather than trying to find one line through to the end, which risks becoming more of a presentation.
I do feel my work has momentum.
In every area, we seem to have thrown everything away and embraced reality television. It's nauseating, programme after programme.
I read 'the Hobbit' at the age when you're supposed to read it. I didn't read 'The Lord Of The Rings.' My father, who was an English teacher, advised me that once I had read 'the Hobbit,' that would be enough. I could then move on to Dostoyevsky.
No one will die if they don't know how old I am.
An actor has power, and their power is very simple: it's the power to say no.
'Death Of A Salesman' is a great acting job.
Whenever I see pointless use of special effects, I reach for something else.
There are many actors who'll make their living in other areas, and they'll say they don't like theatre. What they're saying is that they're afraid of theatre because they know it will separate those who can from those who can't.
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