None of us really know where we're going.

Weirdly, some of the middle stuff of the descent into something going wrong were the hardest, tonally. You don't want to jump the gun and be instantly paranoid about the fact that she has made coffee wrong because that would be weird. It's the slow build and letting it sink in. If they say everything is okay, you believe your partner. You don't want to rattle the boat too much on your honeymoon.

It's a real testament to the amount of skill and talent involved, across the board, whether it's the production design, the construction, the costume design, the other actors, the way it's shot, the directors we had on it, or obviously John's writing. When things do go well, it sometimes seems easy, in a weird way, but it's actually down to a lot of cogs working in a big machine. But, I'm certainly happy to be going back. I'm excited to carry on.

None of us really know where we're going.

I love playing a character that has more than 90 minutes, and that keeps going.

The different variables involved in anything creative, really, are massive. When it comes together, it just clicks, I suppose.

There's comedy in tragedy, and tragedy in comedy. There's always light and dark in most jobs. Whether it's framed as a comedy, drama or tragedy, you try to mix it up within that. You can work on a comedy and it's not laugh-a-minute off set. You can work on a tragedy that's absolutely hilarious.