People should be allowed to marry, and gay marriage should be out there. If a man or a woman has a good partner and they love each other with their heart and soul, let them marry. I am very much for gay marriage.

I'm an actor first and foremost. My producing credentials are just to say, "Yeah, I love this story and now let's bring the people, the ensemble together," and I get out of the way. I have no desire to check on schedules and shooting schedules and money and stuff like that.

I didn't think that and I didn't verbalize that to myself or within meetings that we ever had, but we wanted to make a hard-nosed, gritty, realistic spy thriller. Roger talked about using lenses. He shot hi-def, but using anamorphic lenses that he'd found from this warehouse. He was so thrilled with that. Him and Romain [Lacourbas] were just like kids in a toy store with their lenses.

Sometimes you take time off, and then you look around and you go, "Hello. What happened? Oh dear!"

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."

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.