I think it's doubly important, now that we see so many people failing. When the norm is an anti-hero, there's a serious loss when you cannot portray a decent person on screen without it becoming slightly sentimental or feeling like it's unrealistic.

He earned every precious beautiful moment life gave back to him.

It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.

So, to get to play somebody who was insisting on it, in spite of all the evidence was very liberating and exciting. It went quite deep. I suppose I reference a kindness and humility that I would have seen in my parents' generation, a little bit more than now.

Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.

My grandfather played a mandolin, so I got my hands on that. Then on down to a banjo, and I found I couldn't play any kind of soft or mournful music with that so I took up the fiddle in my late 20s or early 30s - and that was far too late. But it keeps me off the streets. It has been a love of mine since I was 17 maybe.

You work for it. You don't have to massage it, so that it fits into the way it has to be. He's just too vigorous a writer and the dialogue is too sparking to do anything other than inhabit it and give it as much truth as you can. You just try to make it part of your DNA. That's what the challenge is, really.