I don't think you should be too absolutist about what you play and what you don't play.

We haven't made any particular decision [on Maigret], I haven't been asked if I want to carry on with it. All these things are a matter of whether you feel as though the idea is developing and whether it's still interesting to play.

It certainly helps, I think, with some actors to understand the process of acting. You see what extraordinary pressure they're under, there's a huge circus dedicated to a particular moment and they're got to deliver and it can help that you, even if empathetically alone, understand what they're doing.

Look, if I'd wanted a lecture on the rights of man, I'd have gone to bed with Martin Luther.

And, we put a lot more value, or at least I personally put a lot more value, on the creative values and creative challenges of something than the commercial necessities.

At the moment, I'm certainly not thinking 'never again', but neither am I thinking 'I can't wait to play that part again'. I'm somewhere in between.

I'm not a collector. I don't like the toy cupboard syndrome that causes so many good cars to evaporate.