I find the world more absurd now than I did when I was a kid.

I know virtually no one of my age who can remember a hug, or a smile from their father, or a 'Let's go play football.'

There's a part of bohemia I love. The lack of prejudice, the lack of aggression, I love the lack, for the most part, of competitiveness. It's more peaceful.

I was on the set of 'Braveheart' and my mate says to me, 'Do you think this film will be any good?' And I really meant this, too, I told him 'Let me put it this way - It won't win any awards.' Cut to: five Oscars.

Watching people just look out for themselves, I think, is extremely interesting. It goes right back to something like 'The Beggar's Opera' - the underbelly of society, how it operates, and how that reflects their so-called betters.

In the acting game, you spend a long time fighting against what the director perceives you to be. And half the time the directors don't know.

In terms of popular cinema, 'One Flew Over the Cuckoo's Nest' is as near perfection as I can think of.

I did 'Deathly Hallows' so my kids could get on the 'Harry Potter' set. They met Daniel Radcliffe, who was a darling and couldn't have been nicer to them so I'm a hero right now.

The Vatican has tried to condemn 'The Magdalene Sisters' as a pack of lies and that I've made it all up - I wish I was that good a dramatist - and in terms of public relations, that was the daftest thing they ever did.

There are some people who walk into a room and they oxygenate it, by their very being there's fresh air. Then there are those who come in with the smell of death and they suck the life out.

The films that I really enjoy now are films that are made by, for wont of a better word, mavericks.

Part of the reason why movie bosses are so obsessed with crime movies is because they know that world and the criminals. And that's what they are - they would not hesitate to act illegally to achieve profit and gain.

Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.

Nine out of ten delinquents are frustrated actors.

A script is utterly useless in and of itself it's only of any worth the minute your actors, your designers, your directors come into being.

Sometimes you have to confront your demons and sometimes even let them loose to genuinely find a place where you can gain some understanding.

The fact in acting, you can tap into your darkest moments in life to your lightest moments. And people will watch it, and appreciate it, and even engage with you because of that. That's the greatest job one Earth.