What le Carré is so good at is unpicking something very specific about Englishness. That is almost part of why I think he wrote the novel. You can feel le Carré's anger that someone who has had the benefits of an English education and an English upbringing is using that privilege to basically do the worst things imaginable. There is an anger in the book about that.

I was informed yesterday that there's a Twitter account for my laugh. Very hard to get used to things like that. Pretty amazing.

Every time you consider a job, you have to check in with your inner compass and say, ‘Does this fit in with how I see what the work is for? Is this going to be something interesting and valuable to contribute to the world?’

One of my New Year's resolutions was to interact more with people. That sounds quite technical, but literally face time. Not FaceTime, because that's a thing now, but to be in the room with someone. To turn your phone off. To sit and have dinner and just be there with somebody.

The 60s had completely changed how people conceived of their lives and their habits and their identities.

I was so lucky because what I did in 'Thor' was I built the character from the ground up - the foundations of his spirit, really. He was someone who was born with an expectation that he would one day be a king, born with an entitlement.

Some of the greatest actors have turned superheroes into a serious business: Michael Keaton and Jack Nicholson in Batman; Ian McKellen and Patrick Stewart, the first venerable knights of the X-Men, who have now passed the baton to Michael Fassbender and James McAvoy.