To work effectively in a film, you have to repeat and work consistently. Basically, you shoot a big master then you do close-ups. You're supposed to be in the same moment, the same 30-second moment, for a day.

Just driving I just was in a car on flat ground and I couldn't make it go. Having ticked driving and taken three driving lessons, I just was unable to produce any motion whatsoever under perfectly normal circumstances. I think we've all been busted on driving, and riding.

I have a great deal of respect for the craft, I don't know how much respect it has for me. But it's a precision process. Doing it on stage would be, I think, terrifying. Doing it on film has its own difficulties, because film is not conducive to spontaneity. You might have a run through and get a few chuckles at eight o'clock in the morning, but you don't keep laughing at the same thing all day long.

I think it helps to get a film made because people who put money in are nervous. They like to have something recognisable enough to make them secure that there's a pattern there - that someone else put their money into something like this and made it back.

Sometimes to think about why some institutions are stable, it's interesting to go one generation back and look at the author of that stability.

I think it's quite extraordinary that people cast me as if I'm Warren Beatty: until I met my present wife, at the age of 35, you could name two girlfriends.

It was mainly to do with Helen Hunt, to be honest. That's what drew my attention to it. I was interested in the fact that she was going to be directing. I'd never met her but she projects a degree of intelligence and it was convincing t me that she'd be able to handle this sort of material very well.