You must have a twinkle in your eye, a naughtiness - and the audience must realize your mind is working faster than your words.
The most important thing when you're working with greatness is to learn from it, not challenge it.
To me, the Sherlock Holmes stories are about a great friendship. Without Watson, Holmes might well have burnt out on cocaine long ago. I hope the series shows how important friendship is.
I've done 33 Sherlock Holmes stories and bits of them are all right. But the definitive Sherlock Holmes is really in everyone's head. No actor can fit into that category because every reader has his own ideal.
Holmes has become the dark side of the moon for me. He is moody and solitary and underneath I am really sociable and gregarious. It has all got too dangerous.
I'm not looking and I don't go hunting. I'm the type who's got to be found.
Trying to be Sherlock Holmes is like trying to catch an arrow in mid-flight.
Don't be too brave. Bravery is a fine thing on some occasions, but sometimes it can be quite a dangerous thing. The stiff upper lip is not always the best.
I meditate and do yoga. I sit cross-legged and try not to levitate too much.
Villains are very, very boring to do. They're so much easier than heroes.
They are a great essay in male friendship, which has gone now. Men's friendship has been debased. One of the lovely things about Holmes and Watson is that they do have this great platonic relationship.
I think the greatest star in American at the moment is Kevin Costner.
The provocation with Holmes is the fact that he's described by Doyle as a man without a heart - all brain... and that's very difficult to play, or even indicate.
I mean, money people are usually quite brisk, but mine aren't, and they keep on giving me spaces so that I've been able to go on and do plays and films.
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