The people on the business side in the music business are kind of different from the theatre business. I think it's partly because there are different pressures on the industries.
I moved to L.A. because that's where they point cameras at you. And that's what I'd like them to do.
I'm not a conventional leading man at all and have no wish to be.
I've never modeled myself on anybody, but there are a lot of people whose work I really admire and attitudes I certainly subscribe to.
Even smiling makes my face ache.
Has anybody seen my tambourine?
The dreams of youth are the regrets of maturity.
I'm good at my own company.
Any part that makes you world famous has got to be a blessing, hasn't it?
I moved to L.A., because that's where they point cameras at you. And that's what I'd like them to do.
I think artists are driven by the engine of their own talent, but it's a question of what use they put it to.
I've worked in a few sort of 'institutional' theaters - the Royal Shakespeare, the National Theater in England - and they're hopelessly top-heavy with bureaucracy.
Musicals are famous for being in a constant state of flux.
There's nothing more daunting than a musical, but there's also no more direct line to joy. Getting there, though, is like pushing treacle up stairs.
I was a huge J.M. Barrie fan as a kid, as most English children are.
I find there is something very intimate about being the voice in someone's ear when they're driving.
My interests and obsessions have always been so wide-ranging that I keep popping my head out of different boxes as much as possible.
My career has evolved at its own peculiar pace. American careers are supposed to have a much more singular direction than I've been able to... stomach.
My great hero is Billie Holiday, and I've always wanted to do an album of standards with a piano-led quartet.
I remember candy rationing until I was, like, 7.
I love to sing.
Kids will eat anything, won't they?
I like risky parts - abrasive characters the audience won't necessarily like.
I like dangerous directors who like dangerous actors and dangerous productions.
I've turned down a lot of roles to make time to record and tour.
Mozart was very much an arrested adolescent.
Contrary to popular belief, I don't just play dreadful old villains.
I'm not a conventional leading man at all and have no wish to be.
The people on the business side in the music business are kind of different from the theatre business. I think it's partly because there are different pressures on the industries.
In most careers, you find something you do well, and you tie an increasingly larger bow on the package.
Um, musicians are funnier you know, than actors on the whole.
I still find it quite easy to find my way into a child's imagination. We're all Peter Pan ourselves in some respects. Everybody should keep some grip on childhood, even as a grownup.
With a sequel, you always worry for its integrity.
Don't dream it, be it.
You can't stay away from the theater too long.
One of the best things that ever happened to me was Rocky Horror being a total flop in New York as a play. I mean, it was a disaster, and it was the night of the long knives as far as the critics were concerned.
The way the world is, I think a silly evening in the theatre is a good thing, to take our minds off terror.
But we live in a modern world, you know, and, and also it does seem to me that if you - that whatever talents you have, it... I mean it may sound a bit absurd but I, I think it's your, absolutely your duty to resolve them, you know?
