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 loved making The Imitation Game and it's really gratifying to hear the audience's response to the character that I play.

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.

I just invited close friends and family, the usual suspects whose opinion I value but who I know will enjoy the film [Before I Go To Sleep]. I don't know how difficult it is for them to suspend their disbelief because they obviously know me and what they're seeing is not me.

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.

The Peugeot is a very unthreatening car.

Rowan Joffe is very specific. I mean, he wrote it as well and he has a very orderly writer's mind and the same applies to his directing.