The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on.

I need my friends, I need my house, I need my garden.

I'm so boring that press kind of leave me alone now. People will believe what they want to believe anyway.

If you only took on roles that had the same qualities, then I suppose it might make a critic feel better, if he can see some kind of bedrock. Perhaps that's the old definition of a star, someone who's always going to come up with the same goods. But it intimates limitation to me and I don't want to think of the job like that.

London keeps me grounded. We don't get praised every time we open our gobs there.

It makes me feel resilient when you tackle different things.

Somebody referred to me as a ringleader, which I wouldn't have classed myself as, but anyway, there you go.