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.

We sometimes get lost in a bubble... when you get to a certain age you're always thinking about the old days and how it wasn't like that then. Well, yeah, that's great and it's very nostalgic and all that, but actually the world has moved on.

Elaine and I got married in summer 1979, we went on our honeymoon and came back for the premiere of Scum. All of sudden my face was on billboards in Leicester Square and people were crowding outside the cinema, going mad about the film. It was a complete shock.

For me, 'The Crystal Skull' was something I'd never done before, and I loved every minute of it. Working with Harrison Ford as well - he's a cowboy from Montana, the most unassuming man you'll ever work with, fabulous guy, and I loved it.

As a sex symbol, I don't know what is appealing to women. I think it's the way you treat women that makes you sexy if you like.

Sometimes you also work with people who don't explain or express to you what they're actually looking for from the shot but you haven't got that problem with this because whatever you're going to do, whether it's good or bad, will get picked up. So, in that way I guess it's pure cinema.

I think I became an actor because I couldn't sing.