I think it serves the purpose of the film if the premise is that you're unsure of me because you've only ever really seen me play villains.

When you're making a psychological thriller, what you need to do is have an audience on shifting sand so they're never quite sure where they are.

I've played lots of villains in my time and I think the reason they've been so successful is that they're not two-dimensional. They're not black and white. That's the gig.

The Peugeot is a very unthreatening car.

I just like voicing films in general. I do a lot of documentary work and it's a short hop really to narrating a character, especially if you're on film and you're there in a visual way. It sounds obvious, but voicing an animation really focuses you on the way that you're communicating through your voice. It's a very specific ability that you need to be able to have in order to pitch it just right.

I'm sure part of the baggage that I bring having played a lot of villains is also pertinent to the movie [Before I Go To Sleep], because I'm sure people look at me and think, "Oh, I'm not sure I trust him or not."

My mother moved abroad when I was 11, my dad wasn't around from the time that I was a baby, so I was not the product of a family, but a product of observation - of watching what went on around me, of watching who I liked, what I didn't like, what I thought was good behaviour and what I thought was bad behaviour and tailoring myself accordingly.