When you're in a two-shot together, you can't be the same as when you're both in singles. Try as you will, it cannot be the same as when you're in the shot together. It simply cannot be. It's physically impossible. You're behind the camera desperately wanting to help your colleague. When it's just you, on your own, it can be self-conscious in a way that you're not when we're just talking, you and I, and then all of a sudden it's me and then it's you. The two-shots were probably more natural.

It was still quite late when I got married, 30s, I don't know.

I don't want to peak too early. The worry is that you never know until it's all over whether you peaked at all - and then you're finished and it's too late.

The old actors in the old days, they used to go on tour, to get the play ready for the West End, and to learn their lines. The old timers used to say, "Be very careful, dear boy, what you get in to during the first weeks of a long tour."

When you're in a two-shot together, you can't be the same as when you're both in singles. Try as you will, it cannot be the same as when you're in the shot together. It simply cannot be. It's physically impossible. You're behind the camera desperately wanting to help your colleague. When it's just you, on your own, it can be self-conscious in a way that you're not when we're just talking, you and I, and then all of a sudden it's me and then it's you. The two-shots were probably more natural.

My occupation has been a great deal with David Foster Wallace, and he didn't manage it, and he was very much looking for something that isn't totally selfish, and finding meaning. It's a struggle.

My emotional investment started when I read the first scene of the actual drama [45 Years]. I can't explain it, there's no logic to it, but the notion of one's youth that somehow comes back but is gone, a man of my age connecting to that timing of life.