The hierarchy of class in London was rigid. It was like a religion. It still is to a certain extent.

I don't do anything that would ever come across as advice or suggestion, but it's just part of a debate. Like, "I would like to try this," or "Let me do another one with more stillness, let me emphasize that." Rather than "I think you should emphasize this, I think" - you know, I don't impose choices.

I hope I'm able to achieve more on camera through stillness, through focus, through being quite careful to do less on every take, rather than more. So I'm reducing, rather than adding. Which hopefully is a good exercise. That's what I'd like to do.

I never read anything in print about me. It started with not reading reviews and with the greatest respect to my publicist here, I never read interviews. I was there when I gave them. I never read reviews. I was there when I did the jobs - so I'm totally immune. I live in a bubble.

My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

There is always something about the villains that I'm able to play, quote unquote, that isn't villainous.

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.