But comedy I'd love to do as much as humanly possible.

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.

The leaping Jaguar on the bonnet, to me, makes it look more like a hunter than something that is getting away. It's a hunter. Richard III definitely would have had a chauffeur driven Jaguar MK X.

The environment forces you to be utterly dependent between "action" and "cut" because the environment is perfect on your fellow actor. So as an acting exercise, it's absolutely thrilling that the focus that we had to bring to each other echoed in life, echoed in art. And when you get that parallel, it's really thrilling and it's full of surprises, but it all has a logic.

I have a rather naive approach, I think, to my job.

But filming is good for you, because the crew isn't allowed to laugh. You can't get addicted to getting the laugh.

They're a very strange lot actors, very strange people.