I have a Woody Allen Jewish attitude to life: that it's all going to be disastrous. That it hasn't all been that way is simply down to some random quirk of fate.
It's good for actors to confront those things we have to act: panic, pain and death.
As a gay Jewish white South African, I belong to quite a lot of minority groups. You constantly have to question who you are, what you are and whether you have the courage to be who you are.
I can feel the power of the words doing the work. Must trust language more.
Now the dressing-room full of RSC hierarchy. Suddenly Trevor Nunn pushes his way through and 'Trevs' me. I've heard a lot about this 'Trevving', but never had it done to me. From what I'd heard, a 'Trev' is an arm round your shoulder and a sideways squeeze. But this 'Trev' is a full frontal hug, so complete and so intimate that the dressing-room instantly clears, as if by suction. I'm left alone in the arms of this famous man wondering whether it's polite to let go.
The effort of learning. It's the same when you approach any new skill or technique, from a dance step to driving a car. The effort of learning stops you, at first, from doing it well.
Most of my career has been spent with the RSC doing Shakespeare, and the thing you learn from Shakespeare is that his historical plays don't bear anything other than a basic resemblance to history.
I feel so sorry for younger actors who aren't able to have the opportunities that I had, starting out in repertory theatre. It's really tough on young actors now.
As we're leaving the King's Arms Hotel after Sunday lunch, I watch a beautiful white dove walking down the wet road. A car approaches and the bird accidentally turns into the wheel rather than away from it. A gentle crunch. The car passes. A shape like a discarded napkin left in the road. Still perfectly white, no red stains, but bearing no relation anymore to the shape of a bird. A trail of white feathers flutter down the road after the car. The suddeness is very upsetting. That gentle crunch.
If I could write a letter to my teenage self I'd probably say something like: "You ain't gonna believe what will become of you."
I was a weak kid, not good at what all the boys at school were good at and I found that by acting, by being other people, I could liberate myself from those inadequacies.
I'm a complete technophobe. I can't even email.
We've all got darkness inside us. And I've got quite a lot of darkness.
I love playing outsiders, I always do.
I believe deeply in therapy. There's no one in the world who wouldn't benefit from it.
I don't believe in an afterlife.
Why is an actor's unintentional giggling called a 'corpse'? It seems to me quite the opposite. It proves that he's very much alive, and can still tell how silly this all is: him dressed up as someone else speaking words written by a third party.
I've been quoting the book [on Peter Sutcliffe] constantly in rehearsals. Some members of the cast have stated their disapproval that it should even have been written. Some of the women have expressed more - disgust and anger. What are they saying? They'd prefer not to know, not to understand? They'd prefer certain areas of life to be censored? Isn't that partly what breeds the Sutcliffes and the Nilsens?
Life is just more comfortable if you're honest and open about everything. I spent so many years being in the closet about one thing or another.
My grandparents all came from Lithuania to South Africa. My first novel, Middlepost, is a fictional account of that journey.
What drew me to acting in the first place was disguise.
A lot of good actors tend to be quite introverted as people.
Every play I do, every book I write, every painting I paint, I will struggle with. I don't know what it's like for a project to come easy.
I was never built to play the hero. Physically or emotionally... And they're not as rewarding to play. At least for me.
The whole of my acting career is a bit of a mystery to me.
