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.

I'm spending all my time and energy on the project at hand.

I tend not to read the size of the production into a script when I'm reading it. It's just something you respond to or not and I do think it's very dangerous to say it's time now to do this or it's time now to do that.

I've always been someone that sets achievable short-term goals. 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. So I've just always been someone that's sort of reassessed where I'm at, and set goals that are realistic. And luckily, I've had plenty of chances to recalibrate and adjust, and good fortune's come my way.

I think if you had to map that out at the beginning and you said, "Right, sit down, this is what you're going to be doing," you'd probably freak out. But I'm someone who really enjoys not being himself. So if you consider that, then it all sort of makes sense.

I love working with people who have had television experience because I think there's a real efficiency and methodology that comes from that background.

I just think that's the job of an actor. I guess that's the variation that you're talking about. It's probably a byproduct of just constantly looking for something different, because that's what I feel like I'm supposed to do.