I certainly didn't know how Smith was going to develop. I always thought after the first one you would eventually go and find the architect or the man behind the curtain, and then I thought the focus would go on to that character, but Smith would always be there in some form. But Larry said don't worry, he'll develop in a really interesting way, and then when I read the script I laughed my head off.
They might think of those characters, but they're not really me they're versions of. They're things I have to create. And for me, people might say he's Smith or he's Elrond, but I definitely don't think that. I think I'm doing this play at the moment, or I'm doing this other thing. And beside all of that, much more importantly, I am Hugo, and I'm a dad, and all these other things. So whatever people think of Smith or Elrond that's great, but that's nothing to do with me.
On people identifying him with his roles. Interview (November 2003)
I was on top of Keanu Reeves, he was on his back and I was on my trunk, and I was breathing down his neck for hours and hours. It was... very erotic. (on filming The Matrix Reloaded )
I do love working in Australia. Generally, the budgets are smaller, the crews are smaller and generally you work at a fast pace. That gives you energy. At the end of the day, you've worked a lot but you don't feel tired. On the big ones, you sit around a lot. That really saps your energy.
You're certainly pushed into selling yourself as a commodity in order to sell the product. I will engage in the selling of the film. But I will try not to engage in the selling of the image, because I find that it's easier to go on and make another film, because the next character is actually obstructed if your image is bigger than it. So the longer you keep the mask on, metaphorically and physically, the better.
I think I said something like The Interview was the most fulfilling experience from an acting point of view. And it definitely was. That was a combination of working with a director who was very open and very prepared, and ... working with Tony Martin - just sitting opposite him every day, which is pretty much what we did because the film is essentially a dialogue between two men.
I'm 'of the world'. There was a time when I thought, 'Oh, I must go back to England. I feel English.' Then I went and the longer I was away, the more Australian I felt. Now, I've come back here and I don't feel entirely Australian. But I certainly feel like this is my country. This is where I live and this is where I want to work.
Alan Moore was writing about something which happened some time ago. It was a response to living in Thatcherite England... This is a response to the world in which we live today. So I think that the film and the graphic novel are two separate entities. (On V for Vendetta)