What is important is for me to do my best work on camera. The camera is inches away from you and sees every micromovement of every muscle of your eye. And if you're not relaxed, the camera sees it.

Actors who perhaps are super-confident and have absolute belief in themselves I always admire, because I can't really be like that. Because you never know what's right: what you feel inside versus what is portrayed.

I feel like J. K. Rowling's world is one that is owned by everyone in some ways. People have grown up with it and have such a sense of that universe that there's something kind of wonderful seeing everyone get involved.

There is a certain amount of commerce in the film industry in as much as you have value, and for a moment, your value goes up, then it all disappears again.

That's the reality of my life - I do normal things and then get to go to film festivals and wear borrowed clothes and turn up at premieres and talk about things I am passionate about. But then you click back to normality and your family and friends.

For a year after I left Cambridge, I had an agent, and I was working in a pub and doing waitering. But I could stay at home rent-free.

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

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 suffer from a more complex, persistent fear. It manifests itself in nerves, and on film the camera sees even the tiniest evidence of this. So you have to learn that when the director calls 'Action,' you don't go to this place of tension, but somehow you become free.

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.