I always say: 'If I'm lucky enough to be given the opportunity to work again, that's it, I'm being wheeled on, sitting on a sofa, and someone's going to feed me grapes, and I'm not getting up.'
I can see why there's a misconception that it's easier when your parents are actors, but it doesn't work out at all. In fact, it's the reverse.
It's fun working on the set... I usually work about 10 and a half hours a day, and I also study about five of those hours. It can be tiring, but it's fun!
My main worry is that after a certain point you become so identified with a character and a series that you might not be able to get work when your show goes off the air.
Have a hand in your own treatment. I have nothing but praise for our doctors, but I think they could help us better, and we can help them if we work together.
With stunt guys, you can punch them in the face because it's, you know, just part of work. You feel bad about that but not as bad as if you punch another actor.
Being isolated and on-location can be helpful in terms of being completely dedicated to the work, but somebody like me can also be dangerous in terms of this intense sort of void that you kind of potentially fall into.
My wife, Bojana, is a doctor; we both work intense hours and have months when we barely see each other. It isn't easy, but we realize nobody said it was supposed to be!
I'm sticking my tongue out in scenes to try to make that work in 3D. I'm thinking I'll try to get my tongue all the way out to the second row of the audience.
Doing 'EastEnders' wasn't exactly suffering, but my soul's not in quick-fix TV. Theatre doesn't pay like TV work pays, though. We all have to live, don't we?
The idea that you have a vision of what you're supposed to be, or going to be, or where your kids are going to be - and that that doesn't work out - is always going to be something that's going to affect people and move people.
In Scotland, we're a colony in more ways than one. So when directors come up to work, there's a very particular way they want Scotland to look like and to behave like.
One of the worst things you can do is have a limited budget and try to do some big looking film. That's when you end up with very bad work.
I was trained to serve the writer and director as an actor before I serve myself. Not to say that's gotten in my way, but that's a different way of working than most American actors work.
Writer/directors are, for me, the most inspiring people to work for because they are the person on set that knows the answer to all the questions. They have the most invested in the project because they've been with it from conception.
I'm married to my job. I'm obsessed with my work, and I run myself into the ground every single day. Unfortunately, a lot of other pursuits have to take a back seat.
They're definitely having their moment now because they know how to work the system, and I know I have to be that way, too, in order to succeed. But it's never been more frustrating for me.
Sometimes it irks when people come up in the street and say, 'Oh I'm a huge James Bond fan' - when you obviously want them to be a fan of your work in particular.
I don't want to say work is who I am, but some people feel more centered and more whole when they're producing and creating.
If you go out there and your main purpose is to get a sponsor, then it's not gonna work. Just go out there and have fun. That's how I got sponsored.
If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.
