I don't think I could form my writing into scripts or novels. It's so sporadic. My writing's pretty poor. I often think, "Who's this for?" Sometimes it's impressions of the day or my life, or it's fiction. Sometimes it's about things I want to remember, or I try to write in really awful French.

I would love to just have the work do the talking. We're in positions where people ask us questions; they want to know about more than just the work. And it can go into areas where I've completely shot my mouth off, whether it's too much about my private life or being too opinionated about things in the world. I think the better thing to do - I've learned this from people far wiser than me - is to do very good, quiet work behind closed doors.

My massive motivation in life is to make parents proud. But even that has to stop at a point.

I'm a Prince of Wales Trust ambassador, so I'm all about giving youth an education, a voice and a chance to not take the wrong road.

Anyone who works in the NHS has superpowers. It's a miracle, it is magic.

One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.

My first agent dissuaded me from calling myself 'Cumberbatch.' I had six months of not very productive time with her, so I changed agents. The new one said, 'Why aren't you using your family name? It's a real attention-grabber.' I worried, 'How much is it going to cost to put my name in lights?' But then I decided that's not my problem.