TIM CURRY

I like risky parts - abrasive characters the audience won't necessarily like.

Mozart was very much an arrested adolescent.

I like dangerous directors who like dangerous actors and dangerous productions.

When I did 'Amadeus,' I hadn't done a play for five years. And I was so happy doing it and felt so foolish that I hadn't done a play for such a long time that I wanted to go back and really kind of reach out for a classical career.

I remember candy rationing until I was, like, 7.

I'm good at my own company.

Don't dream it, be it.

Contrary to popular belief, I don't just play dreadful old villains.

My interests and obsessions have always been so wide-ranging that I keep popping my head out of different boxes as much as possible.

Kids will eat anything, won't they?

Any part that makes you world famous has got to be a blessing, hasn't it?

I think artists are driven by the engine of their own talent, but it's a question of what use they put it to.

Well, you know... I grew up in postwar Britain, when you were lucky to get anything to eat. People in America have absolutely no conception of how austere England was after the war. While you were all sort of eating butter and eggs, we were eating rabbit. That's what there was in the butcher shop.

The way the world is, I think a silly evening in the theatre is a good thing, to take our minds off terror.

With a sequel, you always worry for its integrity.

I'm not a conventional leading man at all and have no wish to be.

One of the best things that ever happened to me was Rocky Horror being a total flop in New York as a play. I mean, it was a disaster, and it was the night of the long knives as far as the critics were concerned.

You can't stay away from the theater too long.

I find there is something very intimate about being the voice in someone's ear when they're driving.

But we live in a modern world, you know, and, and also it does seem to me that if you - that whatever talents you have, it... I mean it may sound a bit absurd but I, I think it's your, absolutely your duty to resolve them, you know?

I've worked in a few sort of 'institutional' theaters - the Royal Shakespeare, the National Theater in England - and they're hopelessly top-heavy with bureaucracy.

I still find it quite easy to find my way into a child's imagination. We're all Peter Pan ourselves in some respects. Everybody should keep some grip on childhood, even as a grownup.

My great hero is Billie Holiday, and I've always wanted to do an album of standards with a piano-led quartet.

I was a huge J.M. Barrie fan as a kid, as most English children are.

The people on the business side in the music business are kind of different from the theatre business. I think it's partly because there are different pressures on the industries.