There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.

I love exploring in a rehearsal room with other actors, scenes and you know, stuff you are scared of.

You would never dream of going on to play a scene in front of an audience at least without having rehearsed it. But you do somehow in front of a camera.

No, I'm putting it away, trying to buy a house for my family. The goal is to use the money to move into a big house, so my daughter can have a garden.

I think my home is in that sort of the part of cinema that's disappeared is where I lived, that sort of mid-budget you know, drama. I suppose that's what I am known for.

I don't like being told that's where you, you know, if you walk on set and somebody was "okay, you're here and you're going to walk over there on this line." And my reaction is always how do you know? How do you know that's what I'm going to do? How do any of us know?

The script, I always believe, is the foundation of everything.