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.

The Bond was so big and mighty in my career, and it is the gift that just keeps giving. I wouldn't be here today talking about "The November Man" if it hadn't been for James Bond. So, there was a desire, a want, and a need to make this film, "The November Man." I loved the title. It has a sensuality and a mystique to it.

We want the world to focus on children whose lives have been devastated by AIDS. The millions of children who are missing their parents; their childhood, their future but most importantly, they are missing YOU. Everyone can make a real difference. Your voice is needed in a global movement that can change their world.

That's it. I've said all I've got to say on the world of James Bond.

I love movies, don't get me wrong. But I don't go to the cinema. I see movies at the end of the year as a glut from the Academy. I binge-watch all the nominated films. Painting fills that void now. It's oils. It's acrylics. It's figurative, portraits and landscape.

The like factor is a great thing. Love cannot burn constantly. It's very hard for it to be so intense. But it's wonderful.