There are very specific demands, though, in television, and you notice the budget constrictions. It's the time constraint and a purse constraint more than anything else that you notice. But the ambition of the writing and, hopefully, the delivery of it gets better and better because we want to outdo ourselves to keep ahead of a very expectant and hungry public.

I feel like I'm away for much of my own life.

I have pitfalls. I have emotional responses to things that are really not about me. They're about other people.

Because reading is one of the joys of life, and once you begin, you can't stop, and you've got so many stories to look forward to.

That's something I have to work on: to separate what really matters, to conserve energy by not worrying about what other people think. When I walk through that door, it's about home. If I didn't do that, I'd become consumed by one thing only and damage the people who love me. And it would damage the work.

I know that might sound perverse because I played Julian Assange but, honestly, I don't think it would be fair for me to judge the man. I realize that makes me a bit of a hypocrite because I was portraying him a certain way, but we were always open to the fact that this was an interpretation, not any kind of exact evidence of who the man was.

The generation now below me were born into a world where if you're a kid with raw talent now, you can roll in and land a lead in a Scorsese film. You don't have to have prove yourself by working up the ranks, doing the classics, and getting the canon under your belt in the way the great Sirs and Dames of mom and dad's generation - the [Ben] Kingsleys and [Helen] Mirrens and [Anthony] Hopkinses and people of that ilk.