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.

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

I wouldn't want to go back to my 20s; they were pretty angst-laden times.

I carry music in my head, so I don't need more. It drives me nuts that, in hotels or on boats, people seem to think you need music 24 hours a day.

I don't necessarily wait for that massive leading role. I want to keep the juices flowing.

I like people to be surprised by the turn of events. I don't want things just to be pat and formulaic. If there's some sort of internal combustion in the character or a desire to change the way things are going, that makes for conflict, which is the essence of drama.

If somebody says, "Oh, we're going to improvise!," I'm like, Oh, get me out of here.