I'm an anorak. I've always been an obsessive collector of things. Richard Briers collects stamps. I collect cars and guns, which are much more expensive, and much more difficult to store.
Richard was in heavy, heavy costume, he could hardly sit, you know, and I turned up and they put me in two layers of silk, so I played him much lighter - you know, floating around in a pair of slippers, a bit of a hippy.
Yeah, I like causing trouble. It's the teddy boy in me. I used to be a teddy boy. Feeling slightly inferior and wanting to cause a bit of bother and get some action going on in the room rather than get bored stiff.
Television has dried up for my generation, so it's plays and films. You get used to being lazy doing films, but classical theatre's going to finish me off.
There's no subtext in 'Harry Potter,' really; it's all magic - anything can happen. Why do I say this? Because it's a magic spell. It's quite nice in a way. There is a real freedom to it. Doesn't say much for acting, does it?
All actors say they're concerned about the state of the theatre, but what they're really concerned about is that there'll be less work around.
I've always tried to be an actor who... I just plod on and try to keep my mouth shut, mind my own business. I find the whole thing about people's lives... I can't understand it. I'm always astonished that people want to know anything about me.
I've played quite a lot of crooks and killers, and that's quite interesting. Then Dumbledore is the complete opposite, isn't he? He's a nice old man.
When I was doing 'Tales from Hollywood' at the National, I was invited to dinner by the choreographer, Kenneth MacMillan. He told me I had the heart of a dancer and asked me if I'd like to come on at the end of 'Romeo and Juliet' as a friar. I said I'd love to, but sadly, MacMillan died shortly after.
I can't remember any of the films I've done. You go from one to another, and they all blend in to a big mass. You remember the costumes because you remember how you felt - that Western I did with Kevin Costner where I wore the big hat and the two guns, I remember that.
I see film roles as lovely presents that come along now and again. I feel really lucky and say thank you very much. And if they fly me to L.A., I think, 'God, I must really be doing well.' I've worked with De Niro and Brando and Pacino, and that's made me feel very lucky. But the films have never meant a lot to me.
The theatre starts every night at half past seven, and I like the rhythm of going to the theatre, parking the car, going to the stage door; I've grown up with all of that. I'd love to do more theatre - I mean, I shouldn't be telling the world that I can't remember lines any more, but I find it more and more difficult, so I don't know.
I fell in love with Alan Ayckbourn the day I met him and, starting with 'The Norman Conquests,' went on to do eight plays with him. He tells you just what you want to know and has a brilliant way of solving problems.
I find it difficult to remember lines. When I'm doing a long speech for television, I sometimes have an earpiece with someone feeding me the text. But I can get by in the theatre if I study hard for a couple of months.
I have been in five Harry Potter films and never read a 'Harry Potter' book. If you are an actor, all you have is the script you are given. If you read the book, you might get disappointed about what's been left out.
I like causing trouble. It's the teddy boy in me. I used to be a teddy boy. Feeling slightly inferior and wanting to cause a bit of bother and get some action going on in the room rather than get bored stiff. Does that make sense?
I sometimes think the theatre is more demanding because it requires things you don't have in films, like it requires you to make the people in the front row believe you and not look an idiot to them while the people right at the back can hear you.
I want to be good all the time, so I feel anxious. But if you weren't like that, you'd be dead, wouldn't you? If you went out happy down the road, la la la. I've never been like that. I don't want to be.
Paul Schofield said something like, 'If I'm not acting in a play, I don't really exist.' Those weren't the exact words, but he meant it's only when I'm acting in a play that I've got something to say about the world. And then why should I talk, when people can come to see it?