Every time I get a script in my inbox, it's like a little Christmas present. It's so exciting to see what they've cooked up.
I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.
The one good thing is that I get a lot more good scripts coming through my letterbox. 'Vera Drake' raised my profile in one way, and then 'Harry Potter' in another.
Luckily for me, I get a lot of acting-oriented scripts.
The script was given to me by one of my agents and they didn't tell me anything about it. My first reaction was, "The West Wing? Is it about a squadron of fighter jets?" Then I turned the page and saw, 'by Aaron Sorkin' and I knew it was going to be something good.
For me, my first hearing of the script matters. It has to excite me as an actor and as an audience.
It was a great circumstance when I received the script of [Chloe] and Atom [Egoyan] said he wanted me to do it. I was inclined to say 'yes' immediately.
When I was sent the script for 'Homeland,' I didn't think anything of it. Three months later, my manager rang and said: 'They are interested in you.' I read it and I realised, 'Yes, I do want this.' Then I got an email saying I'd got it.
It's not like I have boxes of scripts arriving at my door.
Often, you're not quite sure what people have seen you in, but the script lands in your inbox. That was the case with 'The Night Manager.'
You read a lot of pilots during pilot season, and not all of them really grab you.
I think you judge your career by the scripts that are being sent your way.
It is always exciting to receive the scripts before we start on a new series.
