There is so much to do on a film set. It is an extraordinarily invigorating and wonderful place to be, when things are running well.

I would like to make it known, on this program, loud and clear, that I would absolutely embrace with all five of my arms being a Bond villain.

I think that all of us either lose touch with the child inside us or try and hold onto it because it so precious to us and it's such an extraordinary part of our lives.

I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

I think if I were to go back on stage I might be in great danger of acting.

One of the greatest things drama can do, at it's best, is to redefine the words we use every day such as love, home, family, loyalty and envy. Tragedy need not be a downer.

If it's a really well written villain, he probably has more layers than the archetypal good person. So that would be very attractive to an actor. No one chooses to be a villain; it's usually a reaction to something else.