Quotes from Geoffrey Rush

If you're in an Egyptian film and you're not Egyptian, you have to wear mascara and stuff like that.

What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English.

I'm so envious of certain actors that have that natural facility to hear a cadence and the rhythm of an accent, that it goes into their brain and just comes out. Chameleon voices.

Being in my more senior years now, you hope somewhere along the track that you're going to get to collide with a role that feels very special, and Einstein is such a magnificent figure.

My kids started school, so having a strong base in Melbourne has been a key priority. I'm not daunted by the travel. People say, 'It's so far to Australia,' and I say, 'You get on the plane, you eat well, you sleep, you wake up - and you're there.'

People are intrigued and fascinated, almost obsessed with the private lives of great public personalities.

Someone told me that there's a connection to Superman, that in an early edition of the Green Lantern comics, Tomar Re was the envoy to Krypton. That was fascinating to me.

I didn't know the Green Lantern comics at all. I was a Superman reader.

I was never a leading man. I've always been in the outer concentric circles in the company, being a character actor, which is a good place to be. It gives you that diversity.

I guess I've been fortunate in having an ongoing film career while being based in Melbourne. I'm happy to commute. A day on a plane. Come on. It's easy.

It's nice going to work and not having to always get on a plane to do it.

I was not the young heroic model for 'Hamlet.' I tended to play those characters that orbited around them: the rogues and the rat bags and the idiots and the fools and the clowns that sway the plot somehow from a tangent.

I think that Ionesco's greatest weapon is that he's able to make us laugh at the darkest corners of our souls.

I always had a fantasy of being a chef, because I like kitchen life.

I live in Australia, and I am Australian, and because I grew up in an era where we didn't have a film industry, and now we do, it's just really exciting for me to be able to say that I work in my own culture in a medium that I find fascinating.

With 'Call Me by Your Name,' they locked off the camera and let scenes play out in long, wide shots to make them feel almost voyeuristic.

People tend to think of Brisbane as a sleepy, sub-topical place. I don't know. It's like Baltimore or something. I don't know. You would hear the family dramas going on behind closed doors.

I wouldn't mind meeting some of the people I've attempted to portray from the olden, olden days. They probably would all have really terrible skin and horrible bad breath, and I'd have to give them an Altoid.

I don't like the ocean. I'm not a natural swimmer, even though I come from Australia. That' a terrible thing to say.

When people come to me and tell me I was terrific in this or that, I do not want to fall flat on my face the next time. But, tough, I have fallen flat before. You just get up and dust yourself off.

It's their story, and I got to be the guy in the back while they were in the foreground.

I like roles that are on the extreme ends of the spectrum, and there's special appeal in exploring these slightly forgotten plays that people might think of as subjects for academic term papers instead of live theater.

I'm in 'Gods of Egypt.' It was CGI on a level that I've never encountered. You're in a blue environment on a mirrored floor because that's going to be looking like Ra the Sun God's boat. In the studio, it was like I was in a Robert Lepage theatrical piece.

Within our culture, every school has a swimming pool. We lived on the coast. People swam in the surf. It's a very sporty nation and at that particular time anyone who had an artistic bent was very much an outsider. So if you liked reading or ideas or playing the piano then your dad viewed you as a sissy, basically.