I'll make phone calls. I'll call anybody and knock on any door to try and get a location, or get an actor, or get an actress. But no, it was just very easy. We just hit the ground running.

And consequently, you have this rich looking film, which gives it this kind of muscular feel, deep focus, soft focus look. I'm not that great on development. I can see where things go wrong, but Beau, Carl and Mike Finch, they worked on it relentlessly. And then I would see the material and I would say, "Well, that just doesn't ring true. I don't quite know why that's happening."

It will be very hard to get out of Bond. It will be the pictures I do between Bonds that will color my career, that will give my career longevity after this franchise is over ... I will be stamped with this character for life.

I'll make phone calls. I'll call anybody and knock on any door to try and get a location, or get an actor, or get an actress. But no, it was just very easy. We just hit the ground running.

I was a commercial artist when I left school, but luckily I became an actor. I've painted for many, many years. Now the last few years it's gotten more serious.

I lost track of it thereafter. I wish I had a piece of it. That would have been very, very nice. It was one of those little things they get you on the Bond and then suddenly your face is every which way.

There's no question about it. Beaumarie St. Claire and I, we created Irish DreamTime after GoldenEye hit. We made movies like Thomas Crown and The Matador. And in between my stints as James Bond, I'd go off and I'd do something like The Matador or Tailor of Panama, which was spy related, just so I could shake it up. It's a genre which really appeals to me.