And little he knew of the things that ink may do, how it can mark a dead man's thought for the wonder of later years, and tell of happening that are gone clean away, and be a voice for us out of the dark of time, and save many a fragile thing from the pounding of heavy ages; or carry to us, over the rolling centuries, even a song from lips long dead on forgotten hills.

I didn't start out to be a movie star. I started out to be an actor.

When I realised that what I do really well is play women who are tough and vulnerable, it was a moment of clarity. Many female characters either have one trait or the other, but I play both. I don't need to play characters who are like me. I can just do that with my life.

I don't think of poetry as a 'rational' activity but as an aural one. My poems usually begin with words or phrases which appeal more because of their sound than their meaning, and the movement and phrasing of a poem are very important to me.

Pictures, regardless of how they are created and recreated, are intended to be looked at. This brings to the forefront not the technology of imaging, which of course is important, but rather what we might call the eyenology (seeing).

I'm not a theoretician about playwriting, but I have a strong sense that plays have to be pitched - the scene, the line, the word - at the exact point where the audience has just the right amount of information. It's like Occam's razor.