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.

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.

I don't plan in terms of career ambitions. The only career ambition I have is to work with people who are going to bring you up and elevate your performance. They'll let you know things that you didn't know already and bring you places that you might not have gotten to otherwise.

As an actor, to get a gift of a part like that is unusual. And then, to have the prospect of another one is always going to be interesting and exciting.

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.

We lost faith in authority in the '50s, up to a point, and we spawned a lot of anti-heroes in movies, which were refreshing and open. But at this point, with the distrust that's there and the disillusionment with leadership that is so acute, we need some kind of a focus on taking the irony out and taking the anti-hero element away.

I think every character actor at some stage likes to carry a film. It can be extremely liberating to just come in for a scene or two and do your thing. But I find it frustrating if I'm just doing little bits here and there for too long.