My personal problem is that I take the business of film-making so seriously that I find it very difficult to relax.

Mr. Bean is at his best when he is not using words, but I am equally at home in both verbal and nonverbal expression.

The character [Maigret] is bound to change and develop, and I wouldn't like to claim that we are perfectly formed straight out of the box. I think it's what I'd call an 'optimistic start'. As you know, for me, no glass is anything other than half empty, so I apologise for my reticence in terms of promoting this programme.

It is very linear storytelling, and I think that's not so much the fashion. I was watching a new drama the other night which was extremely non-linear, where you flash back and flash forward in ways that certainly keeps you on your toes as the audience. There's not much of that courage with the storytelling in our Maigret film.

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The clear problem of the outlawing of insult is that too many things can be interpreted as such. Criticism, ridicule, sarcasm, merely stating an alternative point of view to the orthodoxy, can be interpreted as insult.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.