Toby Jones quotes:

Hitchcock is a big ask. I am playing someone significantly older than me and someone significantly bigger than me. The stuff I find very interesting is why certain physical things have come about. How can he be light on his feet when he is so big? How can his weight vary so much? Where does this rather beautiful voice come from?

I didn't sound anything like Capote at the screen test. It was more like Bob Dylan. In his early years. With the flu.

I teach for the Book Trust, which promotes reading and writing with children.

I think it will be, as always, interesting to compare different portrayals of Hitchcock. I'm very honored that I'm playing the same part as Anthony Hopkins.

It's Toby Jones playing Alfred Hitchcock, not Alfred Hitchcock. We all felt that his silhouette was crucial, so his nose and lips were crucial as well. We had to build it out a bit to get the silhouette. But, with my nose being so small within the proportion of my face, the first nose was too big. I felt like a nose on parade.

When working abroad you work pretty hard, but with time off, this is the greatest job in the world. You drive. You explore Memphis, or wherever you've landed, or go and see Dr John, or the Californian landscape. And, yes, I've had a few good meals.

I heard about the project over a year before we began. My American agent said, 'Oh, you might want to read 'In Cold Blood' because they're talking about you for Capote, but the script's with Johnny Depp and Sean Penn at the moment.' So, these things take their time to dribble down the food chain.

There's something in the rhythm and roll of it that is connected to the way Hitchcock thinks and moves. Then there is everything he ingested - the cigar smoking and drinking that's imprinted on his voice.

I studied Hitchcock a little bit at University and knew the famous story about the Birds - that he'd tortured Tippi for a day using real birds. I had no idea that it was a five-day onslaught and that it was the tip of an iceberg that carried on through to another film.

If you ever have the good fortune to meet Tippi Hedren, she's an amazing woman. You can't quite believe she is the age she is.

I went to meet Joe Johnston, the director, and he's charming. I've been very lucky. Most of the directors I've worked with are charming. But Joe's a particularly charming man, and he showed me lots of designs and, rather memorably, welcomed me to the Marvel Universe.

It's one of those jobs where you go, 'Oh no, I've got to play Alfred Hitchcock. I have to play him even though I know what this is going to involve.'

They know you're not Alfred Hitchcock, but you need to be enough Alfred Hitchcock for them not to be bothered by it. That's a reassuring thing.

When I told people I was going to be doing the movie and the voice of Dobby, they were kind of awestruck, the people who knew about Harry Potter. I felt rather guilty that I didn't really understand the scale of the job I was about to take on. Now, I am well aware of what I'm doing, and actually, it feels a very serious acting responsibility.

The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good I remember thinking, 'Oh, this script is too good. They'll never give it to me.'

Four hours of prosthetics every morning, the jowls and the nose, and it was very hot so they're having to attend to it all day, and you're still petrified of so many things, such as, can I speak properly? Hitchcock never quite lost those East End vowels, even though he had the softened California consonants.

It's hard to imagine anyone interested in film not being a fan of Alfred Hitchcock because he's such a key influence on the entire history of cinema - it's hard to escape his shadow.

I was a fan of Hitchcock, but more importantly than that, he is such an inscrutable man, and a very carefully inscrutable man. He apparently was blank-faced with a calm and controlled presence. I was immediately anxious and thought, 'How am I going to get behind that?'

Best ever was filming in Barcelona last year, and I had a couple of scenes with De Niro. He's a very shy man. Speaks so quietly that people tend to bend down and adopt the same tone, almost the same voice, whenever they talk to him - watching, you'd think someone's offering to carry out a hit for him when they're just offering him a cup of coffee.

I don't know if it's harder but when you're playing a real person you want to honor their memory - even if they're a criminal or someone that the public loathed. That can be challenging.

They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.

The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good... I remember thinking, 'Oh, this script is too good. They'll never give it to me.'

There's not a huge pile of scripts at home. It's what happens to be on the table at that moment with your availability. And then you have no control over when these things come out.

You always get told how important the premiere and doing the press is, but I have suspicions.

Often jobs are un-turndownable even before you read the script. You go, 'Well, I have to do that.'

We're interested by public personas and private personas, otherwise we wouldn't put on with actors rambling on with the same kind of stuff, over and over again, saying variations of the same thing. I'm always amazed by how fascinated people still are by actors because it's the same version of events that actors describe, all the time.

I still don't feel I know Hitchcock at all. I find that the more one looks, the more elusive he becomes. But my admiration for Hitchcock the filmmaker remains undiminished. He is a giant of the cinema and the darkness in him informs his cinematic language. You can't separate one from the other.

You're playing a character in a drama who happens to be based on someone who existed. It's never going to 'be' that person, but it's based on someone well-known, and you want to create enough of that person for it not to be a distraction.

Hitchcock's got a very interesting voice; it's a very controlled, measured rhythm that's quite slow and, in that sense, also felt quite controlling in its pace. He retained something from his childhood, that London sound, as well as adopting some of the L.A. sounds... All of this helps you create the character.

I've got to tell you, I've played real characters before and people always bring up this word 'impersonation,' and I'm never entirely sure what it means.

I often get sent scripts about little men in big situations. There's a comic element to it, which is forces stacked against this little guy, and how is he going to defeat them?

One key element to Hitchcock is the drooping jowl. That was crucial because his silhouette is crucial. There is something about his silhouette that became his brand.

Certainly for my father, there were great times, good times, not-so-good times. He might be shooting a Fellini film for six months, then not working for two months. I'm used to that dynamic.

There are things that I would avoid, so I have the choice to say no, when I feel I'm repeating myself too much. But then there could be a reason to do that with a good director. So I think actors have to have a loose philosophy.

It's hard for it to make a mark in this city because London has so much culture to offer.

I had to change the shape of my own voice. It was quite hard to pull off and so once I had it, I stayed in Hitchcock's voice all day on set.

I get plenty of time to re-engage with the world I'm trying to depict, so I'm not always living in these parallel worlds.

All of these red carpet events may seem natural for you journalists, but it doesn't feel natural for actors.

But I think the children of actors share a certain pragmatic approach. One is denied some of that 'running away with the circus' element of being an actor.

I do always feel very proud and flattered by being asked to be a part of American productions playing American characters.

I know that I'm a very different person on my own than I am with someone else. We are different with each other. These things are constantly adjusted. And that's true of humans. That's not just true of famous people.

I love making movies, I love trying to make them as good as I can, but I feel like sometimes the marketing and publicity around the movie, becomes the most important part of it.

I work best when a little scared, when there's so much more than the lines to think about.

I would absolutely like to play more leading roles. There's no philosophy - well, the only philosophy, I suppose, is to try and do different things.

I'd love most of the movies I make to be four hours long.

I'm very fortunate that I get asked to do very different kinds of roles and I realize how much I enjoy that. I enjoy the challenge of transformation. There are actors who play one character, or a certain kind of character, the whole of their lives. I really relish the opportunity to have the challenge to totally transform.

I'm very interested in people, so if a character happens to be real, there's that much more to look at.

It's always very strange to have your life dramatized because it never happens like that. Things will be different.

Jennifer [Lawrence] and Josh [Hutcherson] seem very, very grounded. They're getting down to the film like they did last time.

Jennifer [Lawrence] is amazingly grounded in the midst of all this to do. It must be unnerving and hard to relate to the amount of attention she generates.

Often jobs are un-turndownable even before you read the script. You go, 'Well, I have to do that.

Particularly [Alfred] Hitchcock, who takes his time with everything he says. There's a controlling way in how he speaks because he takes his time to finish all his sentences.

Somewhere the glamour has gone because of the industrialization of this whole process. I wish it [filming] felt as magical and glamorous as people want it to be, but it feels like a routine people are going through.

The prosthetics were interesting because the artist was so good that they could just put a Hitchcock mask on me, but you don't want to do that. You're an actor playing Hitchcock, so it's about how much of that you're going to do.

The thing about Hitchcock which is quite extraordinary for a director of that time, he had a very strong sense of his own image and publicizing himself. Just a very strong sense of himself as the character of Hitchcock.

There are far more good actors than there are jobs for them, so it's a big question of luck.

There is this miraculous thing I heard Hugh Grant talking about - the thing about screen acting is that you can read people's thoughts. You are trying to register something inside and usually the eyes in cinema are where you will register that.

We're blessed with, as we were on Harry Potter, lead actors who are amazingly grounded people.

What happens is some of the characters I've played have voices that are so different from my own, that it would be ridiculous if I would dip in and out of that voice in between takes to ask for a coffee, or something. Or to gossip about whatever was going on.

When you're training as an actor, a lot of the big work you're learning is to treat fictional characters like real people. You don't have the problem of discovering a backstory with real people, but there's always a mystery which is common to both fictional and factual characters. They are never quite the person you think they are.

You can't deny reality just because you can't explain it.

You come in as this satellite part of the film [Catching Fire], so I only see Stanley [Tucci] in my scenes. These kinds of movies have so many different components; it's about as different from doing The Girl as you could imagine.