In England, we have this saying about Marmite: people either love it or hate it. That's like a lot of the movie work I've done. People either find it repulsive or find it really interesting and get engaged in it.

It can be a miserable profession, acting, because you always want what you can't have.

'Animal Ark', was when I was fourteen years old, and it was an ITV children's program, and I did an episode called, 'Bunnies in the Bathroom.' And I'm not sure if it was my finest hour.

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

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

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.

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.

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?'

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

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.

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

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

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.

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.

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

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

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

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.

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.

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.

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.

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.

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.