I like the fact that we're stripping the icons away. They're the WikiLeaks for the age that we're revealing, with the transparency of the characters. We're unearthing the truth beyond or underneath the myth. I love that aspect.

He [Merlin] is slightly from another world and place, so it [challenge in bringing the role to life] is about having fun and presenting it in a new way. He's more of a politician, and slightly Machiavellian, but there's also a lovely relationship going on between Merlin and Arthur. There's so much to be had, really.

Merlin is really at the forefront, in that regard. We get a glimpse into the dark, Machiavellian corridors of power. I like the fact that, although he has powers, his powers are almost in his political guile as much as what he relies on, in darker forces.

I'm a huge admirer of Pope Francis and everything he stands for. I think he's an incredibly connected spiritual and authentic being.

A large part of how an actor works and their process is the stimulation of what's around you, and none more so than in a period piece. This is a modern piece, as much as it is set in a different time, age and myth. If it wasn't relevant, it wouldn't have been made and we wouldn't be putting our energy into it. It's relevant for us today because, in some ways, it throws up a mirror to all of us. As an actor, you get stimulus and you're effected by that, whether it's costumes or funny beards or castles.

It all felt like a terribly long time. It would have meant that I had to make five movies in five years and if you don't like the movies, too bad. I guess I just wanted my freedom, and I think my life has been incredibly enhanced as a result.

Pretty much all films I've seen that depict the life of Christ end with the Crucifixion, almost like the filmmakers don't know what to do after.