I don't tend to spend the whole day in the personality of the person I'm playing.

I am a pathetic and gushing Nick Hornby fan, and I wanted to be in High Fidelity, and I wanted to be in About A Boy, and those two directors - one who's a dear friend, and one who has never cast me in anything, despite my pleading... So there was another Nick Hornby script going around being cast by a friend of mine, and she said, "There's a very small role in it, but you'd be right for it." I was like "I don't care how small, I'm going to be in this Nick Hornby film."

From a very young age, I wanted to get up on stage whenever I went to the theatre - the actors just seemed to be having so much fun. One of my worries about theatre, in fact, is that the actors are quite often having more fun than the audience.

I wanted to play a TV detective because it's a rite of passage; I wanted to experience every area of acting. I haven't done comedy or as much Shakespeare as I had intended.

For me, selfishly, The Postman didn't kill my career. It meant I didn't shoot straight and painfully into the limelight, but Rushmore came out of it. No one would have known where I was to cast me in Rushmore had I not been in The Postman. Because they shared a producer. Nor would I have been in The Sixth Sense. Nor would I be speaking to you now if Kevin Costner hadn't cast me in The Postman.

I love the ups and downs and the eccentricities of my career. The worst movies have produced some of the best friendships.

Usually the casting process is lengthy and humiliating, but in this instance, The Ghost Writer, it was just too easy. I was sitting in a rental car on an L.A. street and my cell phone rang, and it was Roman Polanski on the line. I couldn't really believe my luck. He said, "See you in Berlin." I sat staring at a palm tree, thinking how surreal that was.