Getting the call to be in The Goblet of Fire was like being welcomed into the most exclusive upper circle of some elite actors' club. You sit on set with the cream of the National Theatre and the RSC, all clutching wands or wearing witches' hats.

I often stop when I'm doing something, in the middle of rehearsals or some other job, and I try to take a minute to think "Okay, this might be as good as it gets, so drink it in, appreciate it now". So far, I've been lucky because another job has always come along to equal the last.

Moths are the ones that freak me out. It's something to do with the way that, if they get squashed, they turn to dust. There's something very wrong about that. It all feels a bit Gothic.

Getting the call to be in The Goblet of Fire was like being welcomed into the most exclusive upper circle of some elite actors' club. You sit on set with the cream of the National Theatre and the RSC, all clutching wands or wearing witches' hats.

I remember a conversation with my parents about who the people on the TV were, and learning they were actors and they acted out this story and just thinking that was the most fantastic notion, and that's what I want to do.

It's very hard to be objective about something you're in, especially when you set it up against things that you experienced as a child.

Some people live more in 20 years than others do in 80. It's not the time that matters, it's the person.