Part of me was fascinated by the idea that I would only get next week's episode a week in advance and wouldn't actually know where I was going with it, until the script landed on my mat. But, part of me wanted to know what was going to happen.

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.

You need to try to find a way to humanize your villains. Genuine villains, in real life, still have mothers and daughters and sisters, and they fall in love. They don't walk around with a big sign saying, "Bad guy," on their head. They think they're good guys. If you can play that, I think it makes it more interesting.

Because I had children relatively late - in my 40s rather than in my 20s - it wasn't anything I ever knew that I would do. It kind of happened to me: I met the right woman and we had children. It was a revelation because it suddenly makes me realize "Oh, I get it. Now I know what to do with the rest of my life."

I have an enormous amount of respect for Nicole Kidman. She's just done so many great movies and she's been out there at the forefront of carrying films and being a movie star. On set, it really pays dividends because when you're performing with her, she knows exactly how to play it. You don't have to compensate for her in any way.

In the movie, you have to decide as an actor how you are going to give a character presence. You can't really move, walk, and talk like yourself. This creates something so you have to find something "other".