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I'm lucky to be married to someone who entirely gets what I do. She is totally sympathetic to the actor's life. Her own mother was an actress, so she sort of grew up with it.

My dad's family were pretty working class, actually.

I want to spend as much time as I can with my family, yet I'm aware of having to bring home the bacon.

I don't know much about my biological background.

Not a lot of people would think that I spent most of my early years totally rebelling against anything I could, getting suspended from school, going on demonstrations.

I was a pretty difficult teenager.

People look at me, they know I've appeared in costume dramas and they automatically assume I must be a Tory, I must be a certain type of person.

I was never very happy at school.

I'm shocked at being recognized.

Soap opera seems to be a dirty word, but actually they are the most popular shows we have.

I always wanted to be an actor.

I never quite toed the line.

All my early school reports from the age of 5 were 'Daniel must learn not to distract others.'

I don't see money or a particular status as an actor as a goal, but I want to do the best work I can in as interesting a range of roles as I can.

I haven't done as many films as I would have liked.

When it is good, theatre takes a lot of beating both to watch and perform.

What was interesting was talking to older gay men about what it was like being gay in the Eighties.

In the 21st century, I think it's fair to say, homosexuality is more accepted in Britain and it's wonderful that my generation has been able to grow up with that.

I'm a huge fan of Eighties music.

I've been a lucky boy.

The female attention I have to struggle hardest with is from my two-year-old daughter.

I don't think many people get to play big emotions in life.

I would like to do something modern and possibly funny.

Everything's so accelerated now.

We take so many of our freedoms for granted nowadays - I can travel where I like, I can have a baby when I like, I can do any job I want - but I do think chivalry has been lost a little bit.

None of us had any idea of how successful Downton was going to be. I thought I was signing up for another period drama that had a slightly modern feel. It had a freedom about it because it was coming out of the head of Julian Fellowes. Anything could happen and generally did.

I haven't done as many films as I would have liked. A lot of my contemporaries have done more. I don't have 'I will be a movie star' emblazoned on anything, but I'd like do a bit more screen stuff and then when the time is right come back to theatre. When it is good, theatre takes a lot of beating both to watch and perform.

Oh, it is quite possible that none of us in 'Downton' will ever again get the ratings this has had. But from a career point of view, it has opened so many doors.

As long as I am given the opportunity to keep performing and keep exploring in whatever medium, I'll be happy. As long as I get to spend time with my family, I'll be happy. As long as I can write in some form, I'll be happy. It is the essential things like that I equate with happiness.

I'm sure I wouldn't have been asked to judge the Man Booker if it weren't for 'Downton.'

I've had to learn when not to tweet. Like, you learn how to keep your mouth shut? Learn to keep your tweet shut.

But even writing the column for the 'Telegraph,' that idea of working to deadlines, which as an actor that's not something you have to do in the same way. It's excited me into wanting to do a bit more.

I saw Mercury Prize-winners Alt-J for the first time recently, touring their debut album 'An Awesome Wave,' and I'm still riding the high: they're the most musically dynamic and exciting band to have poured tune into my lug holes live since Bellowhead.

Every night, half an hour before curtain up, the bells of St. Malachy's, the Actors' Chapel on New York's 49th Street, peal the tune of 'There's No Business Like Show Business.' If you walk the streets of the theatre district before a show and see the vast, enthusiastic lines it sounds like a calling: there is certainly no place like Broadway.

A British porch is a musty, forbidding non-room in which to fling a sodden umbrella or a muddy pair of boots; a guard against the elements and strangers. By contrast the good ol' American front porch seems to stand for positivity and openness; a platform from which to welcome or wave farewell; a place where things of significance could happen.

The comfort zone is the great enemy to creativity; moving beyond it necessitates intuition, which in turn configures new perspectives and conquers fears.

Theatre, when it is at its best, takes a lot of beating - the live experience and the shared collective experience of live storytelling is really special when it is good. Particularly here in New York because the audiences are amazing, very vocal and very engaged, and that makes theatre very exciting.

I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.

At the age of 11 I was about 6 ft. tall and my voice had completely broken. That caused problems. I was this gangly, spotty, very unattractive kid. I wasn't cool and I wasn't a nerd. I didn't even want to fit in with anyone.

At 13, in my first year of Tonbridge, I went up for the part of Macbeth. I was up against the 17- and 18-year-olds, but for some reason I got the part. It made me incredibly unpopular with my peers, but it was the English and drama teachers who stepped in to save me when others wanted me kicked out of the school.

I've never tried to find my real parents. I'm very grateful to my mum and dad for adopting me - they're completely incredible people. It was my dad who encouraged me to question everything, to forge my own path, to think, to read. I always felt it was my right to question everything.

Coming back to theatre is something I'm keen to do for the rest of my life. It recharges my batteries, so to speak.

The Broadway audiences are very vocal and seem very engaged. For certain shows, especially with a show like 'The Heiress,' the audience's reactions sound like 'The Jerry Springer Show' sometimes. That seems to be a very New York thing. Oh, there's also the entrance round of applause here, which we don't get too much in London.

My dad tells me that he took us to a pantomime when I was very, very small - panto being a sort of English phenomenon. There's traditionally a part of the show where they'll invite kids up on the stage to interact with the show. I was too young to remember this, but my dad says that I was running up onstage before they even asked us.

I've never been a fan of directors who clutter a piece with all sorts of crazy preconceptions or weird ideas.

I'm shocked at being recognized. You go to places you don't think you would be and still, you are. Taxi drivers often recognise me... but I haven't got a free ride yet.

It's nice to get your glad rags on for awards like the Baftas, but it doesn't happen all the time.

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