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.
My favorite film is probably the finale - 'Deathly Hallows: Part 2'.
I've played women since I was a kid and I've always enjoyed it.
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.
When I read 'Fantastic Beasts,' the world that J. K. Rowling has created is so wonderful.
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.
Making a film or doing a play are completely different experiences and entirely fulfilling, but completely unique. I also think one complements the other. People often say that theater is about flexing your muscles, and is actually real acting, whereas I sort of disagree.
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.
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.
I think all actors have a similar deal. You want some people who understand. Although it looks great - and is great - there are also shoddy moments when you feel really rotten, and when it's going well, you're not allowed to complain.
The thing about motor neuron disease, once a muscle stops working, it doesn't start again.
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.
It can be a miserable profession, acting, because you always want what you can't have.
As an actor there's a lot of scrutiny and, even when you've had success, it becomes about sustaining that success. A friend of mine described it as a peakless mountain. Even for De Niro there's Pacino and for Pacino there's De Niro.
Most actors hate watching their own films because all you can see is the glaring mistakes, your own tricks and ticks.
A movie star is someone who has to open a film to gazillions of dollars. I'm just trying to pay my mortgage.
I'll always find the things that make a role complicated!
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?'
They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.
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.
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.
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.
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.
Listen, acting is not surgery, it's entertainment. You're doing something to hopefully move people, to make them laugh, to transport them. But actors are vulnerable, and the reason we're vulnerable is that we're always trying to recreate human behaviour.
I've been a closet lover of faux-reality TV since 'The Hills'. It's bad.
What an extraordinary thing it can be, love, how it will not defined by gender, by sexuality, by race, by religion, by anything. It's something else. It's something other.
When you start out acting, you dream of getting an agent and getting a job. For years, you audition and you get what you can. Choice isn't something that you have much of.
When I was living in New York, I had this slightly wannabe bohemian existence and took up painting, at which I'm appalling. I also bought several guitars.
I do get stopped a bit now and then, but I can go to the supermarket and on the Tube without being noticed. It's usually me that gets starstruck, especially by TV stars.
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.
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 wish I could describe anything I do as conscious or strategized. To be honest, in acting, you have so little control. The only control you have is if you're lucky enough to be in a position, which is not very often, in which you have choice. It's about what choices you make, and for me, it's entirely instinctive.
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.
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.
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.
Our dream as actors is to tell interesting stories about interesting people.
Going to the Oscars is always the most sensory overload and a huge amount of fun.
For 'The Theory of Everything,' I was quite low down on a list of actors for the role, and I got the opportunity as a consequence of people saying no to it. So I have been very, very lucky.
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'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.
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 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.
There's always been a relationship between the film world and fashion.
As someone who gets nervous in silences, I spill words rather than really think.
I walk around talking to myself in accents. Usually people look at me like I'm a complete fruit loop.
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'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.
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.
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.
