Actors are actors, and there should be a complete fluidity for anyone to play anything.

I'm by nature someone that quite likes to understand how things are working, likes some sense of structure, and I've fallen into the worst possible trade for that.

The percentage of actors employed is pretty small, and if you're lucky enough to have a good run at it, you do have a sense of responsibility.

I find in film acting that however many years you have done it for, you can feel totally relaxed and at ease with the people around you, absolutely wonderful, then roll camera and a little part of you goes, 'Ugh'. It is learning how to manage that.

I am fascinated by Omega's history. Particularly the First World War stuff, when they made watches for the flying corps, and the NASA side of it.

Going to the Oscars is always the most sensory overload and a huge amount of fun.

There's been a huge history of cisgender success on the back of trans stories, which is something I'm deeply aware of. My take on it, I suppose, was that I do think actors should be able to play anything.

There's something scary about acting always, because basically you do all this work in a vacuum, and then suddenly there's a lot of money spent making a film, and there's suddenly a camera here, going, 'Right? What are you gonna do?'

If gender is on a spectrum, where one finds oneself is completely unique.

Filming is about continuing to be alert and to think, and I find it quite exhausting.

I never really committed to being an actor. It never felt like it would be possible, I guess.

I've been a closet lover of faux-reality TV since 'The Hills'. It's bad.

I come home from trying to pretend to know about astronomy and physics all day and turn on 'The Real Housewives'.

If your dream is to tell stories, interesting stories, play interesting people, that's the bottom line. The people that I play have to be extraordinary.

When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.

On so many levels, acting in film and TV is so much the sum of its parts, and somewhere in there, there's an alchemical thing that makes something happen or not - that makes something connect or not. Now, of course you want to make work that people see, but the enjoyment I get out of acting is playing characters.

As a runner on a film, you are the lowest of the low, and yet you have incredible access to everyone. I can totally imagine that for actors in the middle of a Hollywood bubble, all they really want is a sense of normality, and that gopher can be a tap for that.

Two years ago, I shot 'Pillars of the Earth' in Budapest - it was a big part, but I had a lot of time to sit around and visit cafes.

It's the weird thing Eton does - you're at school next to lords and earls and, in my case, Prince William, so you end up being used to dealing with those sorts of people.

If you're an English actor and turn up in America, they don't have an opinion about where you sit. They have no idea what auditions to send you to, so they send you to everything.

And you can't complain about kissing Emma Watson. Isn't that what everyone in the world wants to do? I've known Emma for a few years. She's this amazing capacity of young and vibrant and brilliant, but also a bright, intelligent old soul.

I walk around talking to myself in accents. Usually people look at me like I'm a complete fruit loop.

Everything about filmmaking is incredibly weird, and there's nothing natural about watching yourself on the big screen or hearing your voice. It's that same thing that you feel when you watch yourself on a video camera and you hate the sound of your voice - it's that times 800.

They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.