I quite enjoy more teamwork and offering something up into the mix.

Then you realize that the preparation and the planning of this small army of people trying to head to the single aim of creating a work that's going to excite people is very risky. Of course, the odds are that it's not going to work out because there are too many possibilities of it going wrong.

You get to an age when you lose people close to you.

I'm looking forward to locking swords with Douglas Henshall and working against the stunning backdrop of Shetland. I came to Scotland a lot in the '70s and '80s in various theatre productions and of course to film Hallam Foe but this is the furthest I've ever been.

In fact, the difference between creative and interpretive, it all starts with the writing. Then if you can get the money together to make the film, then you're in touch with the visuals and the actual creation, and the sound of what you want to mean. Of course, some directors get inspired by what people do anyway. Don't feel the need [to stick to the script]. In fact, they sometimes go "That's not what I had in mind, but that suits the purpose well.".

I've worked a lot with Noah Baumbach, and he doesn't make it easy to like his characters, but the stories are funny and witty and there's an edge to that kind of humanity.

In fact, most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.