I love to be the lead, but you can't always be the lead.

You've always got to have an imagination in the game we're in but it explodes on this. You get to try the costumes on before you start and feel the weight of them, which is great. But then you're opposite some of the greatest actors in the world and away you go. You find your imagination takes over without you really even thinking about it.

In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.

But then when you go through the process of making the film and you sit in the cinema two years later and your jaw hits the floor, it's quite sad in a way because you're looking at yourself - facially anyway - and see the way you looked when you were 20.

The other thing is that when people mention computers - and I'm pretty much the same - they find it hard to comprehend that there's a performance there. They look at it as something that's just been made by a computer but in a way the difference is that when you make a normal film - and I'm simplifying it here - you put on the make-up and you put the scenery in before you start shooting, but with this you still perform in the same way but then you put the make-up on after, along with the costumes and scenery.

I'm not the sort of bloke who spends a long time in the bathroom. I've never used a face cream in my life and I don't like it when I go on TV and they offer me make-up. I tell 'em, 'No thanks.'

As a man, there's a part of me that feels I should still be going out and doing a proper day's work.