'Animal Ark', was when I was fourteen years old, and it was an ITV children's program, and I did an episode called, 'Bunnies in the Bathroom.' And I'm not sure if it was my finest hour.
The problem with motor neurone disease is they don't know when it starts. People go into hospital having fallen but get wrapped up and sent away, unless they're seen by an incredibly astute doctor. It is only when several things begin to go wrong that it'll be diagnosed.
I'm quite ignorant about fashion and I'm colourblind, so it's all a tad tricky. My only knowledge of that world comes through Christopher Bailey, whom I first met in 2008 when I did a campaign for Burberry that featured musicians, artists, actors and sportsmen.
Two years ago, I shot 'Pillars of the Earth' in Budapest - it was a big part, but I had a lot of time to sit around and visit cafes.
That's a lovely starting point for me as an actor: the question of what will we - or can we - do with this lot of years with which we're blessed? More than my other films, 'The Danish Girl' is about the gigantic risks involved in being true to one's self.
I hope, then, that every one who sees 'The Danish Girl' might be galvanized themselves to lead more authentic lives. How much lovelier would the world be then?
My favorite film is probably the finale - 'Deathly Hallows: Part 2'.
I'm trying to buy a house and set some sense of roots because otherwise you're constantly chasing one job after another, and you look back and you've had all these very extraordinary experiences with extraordinary people, but there's not a line of continuity to it.
I had never been to a fashion show before going to the Burberry show last month. It was an extraordinary spectacle. I was incredibly green and had no idea what an undertaking it is. I also have a new respect for models because they are so close to the front row and must be so self-conscious.
I find in film acting that however many years you have done it for, you can feel totally relaxed and at ease with the people around you, absolutely wonderful, then roll camera and a little part of you goes, 'Ugh'. It is learning how to manage that.
On so many levels, acting in film and TV is so much the sum of its parts, and somewhere in there, there's an alchemical thing that makes something happen or not - that makes something connect or not. Now, of course you want to make work that people see, but the enjoyment I get out of acting is playing characters.
They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.
There's always been a relationship between the film world and fashion.
Actors are actors, and there should be a complete fluidity for anyone to play anything.
Most actors hate watching their own films because all you can see is the glaring mistakes, your own tricks and ticks.
When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.
Listen, acting is not surgery, it's entertainment. You're doing something to hopefully move people, to make them laugh, to transport them. But actors are vulnerable, and the reason we're vulnerable is that we're always trying to recreate human behaviour.
If your dream is to tell stories, interesting stories, play interesting people, that's the bottom line. The people that I play have to be extraordinary.
Our dream as actors is to tell interesting stories about interesting people.
I did an interview once where I was asked who I found attractive and I went on about cartoons and Nala from 'The Lion King' - and it's a bit weird but various of my ex-girlfriends actually did look like Nala.
