This is going to sound completely absurd, but I do sometimes feel like the enjoyment of an awards ceremony or the pride in the finished article hasn't ever surpassed the joy of doing the work, of making it. The doing it is really the bit I'm there for.
Solomon Northup is one of the most remarkable people Ive ever encountered in my life; one of the most amazing stories I have ever been in any kind of contact with. To not tell that story would have been disgraceful, in my opinion.
Ive just tried to keep my eyes open, tried to read everything you can, and tried to see whether I see myself within it. If I do, then I can get excited about it.
Ive always liked the idea of being a father. And Ive always romanticised it, because I lost my father when I was young. In a way, all of the complications that come with my career are about that.
Dividing everybody into genders and sexuality and races and religions, and I think its important to have films out there, to have discussions out there which really try to get to grips with where that kind of thing can lead.
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
It's a strange thing, but you get this click in your brain; the wonderful feeling that the entirety of a character is suddenly available and accessible to you.
Steve MCQueen created an entire family to tell one man's tale and I am delighted that so many of this family have also been recognised today. I am hugely grateful to the Academy for this great honour, and, of course, to Solomon Northup for sharing his story through his breathtaking book.
Ridley creates a very immersive world, so when you walk up to a Ridley Scott film set you're in Ridley Scott's imagination, and it's a really comfortable, cool place to be.
The thing about film is it is a very precise form. You know if you have it and you know if you don't have it. There's not really a middle bit where you're like, "I think we kind of have that scene."
When I worked with Woody Allen, I only got the parts of the script that I was in. I was able to piece together the narrative from that, but I remember being quite excited to watch the movie - the movie that I was in but didn't know what happened in, like, 65 percent of.