Ladies and babies, and mortgages, for that matter, can all wait. Acting has done a strange thing to me, though. I often sit there, thinking, 'I love this, but I wouldn't put my daughter on the stage.'

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

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

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

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?'

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.

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

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.

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.

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'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.

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

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.

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.

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.

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.

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've never been someone that was sort of blessed with an innate talent of just being able to do things. I had to work at it and learn from mistakes.

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.

If you are playing someone living, it is a different type of judgment. However much work you do, it is not a documentary. There will be things you can't get right, and ultimately, you have to take a leap because - you weren't there.

The problem with motor neurone disease is they don't know when it starts. People go into hospital having fallen but get wrapped up and sent away, unless they're seen by an incredibly astute doctor. It is only when several things begin to go wrong that it'll be diagnosed.

I've worked with some actors who have such thick skins and think they are so extraordinary. I'll think, 'Have you stopped learning?' They stop listening to directors or other actors and do the same thing again and again.

A movie star is someone who has to open a film to gazillions of dollars. I'm just trying to pay my mortgage.

The thing about motor neuron disease, once a muscle stops working, it doesn't start again.

That's a lovely starting point for me as an actor: the question of what will we - or can we - do with this lot of years with which we're blessed? More than my other films, 'The Danish Girl' is about the gigantic risks involved in being true to one's self.

The question of what it is to live an 'authentic life', that's a complicated one.

I try genuinely, when I'm playing a character, to not judge them and just to inhabit someone as how one sees them. That being said, you also want to make sure that you don't blur the edges of people too much because humans are naughty and complicated beings.

It feels like a simple human right to be able to be yourself, and yet, what trans people have to go through in order to get to there, it can be so complicated.

When I read 'Fantastic Beasts,' the world that J. K. Rowling has created is so wonderful.

My favorite film is probably the finale - 'Deathly Hallows: Part 2'.

I'm one of those people, when I see a film, I believe it to be true. You know, sort of the authenticity of the camera and seeing things on a screen.

Our dream as actors is to tell interesting stories about interesting people.

My dad works in finance, so he kept giving me the stats: only one in a hundred actors makes it. He'd ask, 'Have you thought about producing?'

I draw and play the piano badly. But when I'm doing those things, I'm concentrating so hard there's no room for worry. I find that onstage, too.

What I love about acting is trying things and screwing up, then trying again, all in this protected little bubble. That's living the dream.

There's always been a relationship between the film world and fashion.

I'll always find the things that make a role complicated!