I have a really hard time stepping out of a limousine and confronting a sh*tload of photographers who are all screaming at you, because it's like saying, 'yeah, yeah, here I am!'

Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.

At first I was a bit indignant about it, and then I realised, 'No, that's what people want, so that's what is given.' But it's not in your control. It's just what happens to you, and that's what's frightening.

When really you've gone to drama school and rep and then you've come to London and gone to auditions and you've worked, solidly, for years. But that all gets forgotten.

I'd say that kids working on sets, even if it's Bambi, need to be allowed to be kids, even if they're working, not become little adults - that to me can be distorting to kids as an experience.

For me, the only ego that needs serving in putting together a film is the story's, the ego of the story and it's the piece itself that you want to bring out the voice of the piece. You're really serving that and that's the thing that you have a basic understanding of.

More isnt always better, Linus. Sometimes its just more.