My assessment of Julian Assange is a professional one, really, of what he's managed to achieve, and the idea that he came up with, which set the world alight and continues to inspire others like Snowden [NSA leaker Edward Snowden], about the secret goings-on that are done in our name with our tax dollars on behalf of big business or politics. He launched the revolutionary idea that citizens can start to claim back a paradigm for questioning power structures and those in authority through an anonymous, whistle-blowing website.

My first, big, silly role at school was as Arthur Crocker-Harris in Rattigan's 'The Browning Version,' where my job was to make school-masters' wives weep with recognition.

Mum did a lot of commercial theatre and farces in the 1980s and '90s to make sure the school bills were paid.

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'm very proud of the work I do, but I genuinely can't involve myself with an audience as early as somebody who's not part of the film can. So there's that side of theater that appeals to me, where you give something and the response to what you've created is a communion between you and the dark that contains however many people. It's thrilling not having a reflection other than through the people you're communicating with. But people ask, "What do you prefer?" and I don't have a preference. I love them both. I really do.

When you start getting jobs, and see your mates from drama school, you don't really want to talk about it, because you have this innate sense of guilt that it's not fair that others aren't doing exactly what you're doing. I do have that.

You have to sometimes just run with the problem rather than trying to solve it with hi-tech wizardry and lots of planning.