Very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons.

People are not what they seem to be according to their looks.

By the very nature of being a clergyman's son, people tend to put you slightly apart, which is - you tend to live a life, at some stages, as being - people being suspicious of you and puts you rather on a - I don't mean lonely, particularly. But it does tend to put you apart.

I first decided that I wanted to act when I was 9. And I was at a very bizarre prep school at the time, to say high Anglo-Catholic would be a real English understatement.

I loved working with [ Lars Von Trier], but I've done two films before, so I was quite used to him.He's a man of incredible moods of course, but he's also a hugely perceptive man, and there's no getting away from that. And he's able to put that perception into something like film, so we're very lucky.

We shot ['Sailcloth'] five days down in Cornwall, and you couldn't have asked for a more beautiful place. It was a couple of tough days at sea, but when I say tough it was still enjoyable.

Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script.