In the past, if I didn't work, I didn't eat but now I feel I can not work and I won't starve.

Rowan Joffe was on top of everything. He knew exactly how he wanted everything to be, right down to the fact when I made those telephone calls, I didn't do it afterwards in a studio. I think that's how he operates. He likes it to be as real and as clear as possible.

And I think in your 40s, you land a little bit, physically and mentally, you arrive at a place where you feel you've learned some stuff. Having children at that point meant I had something very useful to do for the next 20 years.

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".

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.

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.

[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film.