I think American actors are much more intimidated by Shakespeare. I actually want to do this Shakespeare play in New York, but I think it's interesting that there's this gaping hole in the repertoire in the American theater, which is Shakespeare. It's hardly ever done, compared to how often it's done in other companies, not just Britain. Someone from the Roundabout Theater Company - I said, "You never do Shakespeare." And he said, "Yes, we're not very good at it." And I thought, "What a terrible thing to say.".
I come more to Scotland than I ever used to, so I feel more connected to it, more part of the zeitgeist. You know when you realize you have a choice and I'm choosing my homeland. It's funny: when you get older these things creep up to you.
Nowadays people don't know how to handle it if all the ends aren't tied up and they're not told what to think in films. And if they're challenged, they think it's something wrong with the film.
Usually, there's a story I've told that leads up to why I'm singing the song. The whole concept of the show was about being authentic and connecting with these songs. The best way to do that was in a room with an audience and for people to listen to that.
I usually can find a way to do a character to make it real and work. But sometimes it's a struggle sustaining that, because there's such a level of personal involvement and personal, physical, and emotional distraughtness.
I have no regrets in my life even the crazy things I've been in. It all made me the I am today and I wouldn't change anything. I'm happy with who I am!
My feeling about work is it's much more about the experience of doing it than the end product. Sometimes things that are really great and make lots of money are miserable to make, and vice versa.