The biggest lesson Stephen Strange learns in this film is it's not all about him.

The training gave me the building blocks to get through it. A production of that scale, in a theater that big, you are going to struggle to keep your voice at first-run perfectness. All that work I did - the pull-ups and pushups - helped keep my body fit. Hamlet, the show, is a cardiovascular workout of about three hours, never mind the mental, soul-crushing element of it.

Only when Stephen Strange has his accident and everything that he's ever had in his life falls apart that he becomes pretty monstrous. It's the self-loathing rage of a wounded animal and he doesn't have a coping mechanism at all. It ties in with the discipline and the magic of this world.

I've been broody since I was 12, but I can't just get anyone pregnant. It has got to be the right person.

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.

Sherlock being the most prevalent, and they've been really good fun.

The number of people my age, younger now, a whole generation younger, who are fiercely bright, over-educated, under-employed and who are politicised and purposeless really upsets me. It's soul-destroying.