I'm kind of loath to pick one project over another or whatever. You go into every film sort of thinking it'll be your best work, and that's necessary. I think in this business, you really have to be forward-looking the whole time. I think nostalgia is sort of the death knell for any artist.

We were able to shoot in a lot of the locations where the mission actually happened and these guys existed, so that was kind of very affecting. We had a Czech crew and a lot of Czech actors. There's a great deal of authenticity to the project [Anthropoid], and Sean [Ellis] was very anxious that that was the case from the beginning.

I'm interested in pressure, I'm interested in duress. All the great works of art, or film or literature, in my opinion, have elements of those in them.

My only two constants are to challenge myself and to try not to repeat myself.

My wife can see always how a part affects me personally because she has to live with it.

It's a very organic kind of way that people are discovering it, by word of mouth, which I always think is the best way for things to grow. In terms of the affect it's been having on me, I don't even notice that. It's lovely to be able to talk about a piece of work that you're very proud of, that I think's a complex piece of work and not superficial and has depth to it.

I'd love to work in America, some of my favourite films come from America.