I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.

I've given no thought to moving to America at all.

I've never been someone that's had a five-year plan, or a three-year plan. That just seems to lead to a lot of disappointment, and doesn't give you the chance to be flexible.

I've always been attracted to cars, and driving is a completely measurable experience: if you qualify last on the grid, you're the slowest, and if you qualify first on the grid, you're the fastest. So no one can say you're slow if you're fast and no one can say you're fast if you're slow.

The thing I love about working with first-time directors is that it's always quite shocking how little difference there is between them and directors who've been directing all their lives.

I never really think much about the size of a production because I think as an actor, once you're in it, it's all the same. I never ever pick projects based on their size.

It's always hard but the reality is, especially in my case, that every time I go to work I have to do it so it's become part of the job. It's an extra challenge but it's also quite often another extra tool that you have to really think consciously about getting into the character. So while it does require more work, it's maybe even an advantage to a degree because it forces you to switch, to consciously have to jump into and out of the character.