That's the thing about Brits – they have the grounding in the classics and theatre, ... That's why we're good. We go to America and people respect that because we've been through the theatre, we've made discoveries and also made our mistakes there, and that's a wonderful environment to be in. By the time you start to make television and films you've got some experience behind you, an anchor. All those things, when you put them together, give you a certain amount of confidence and a certain belief in yourself, and the ability to adapt and change to some of the different roles you play. You need to be a good actor to play a villain, and we're always getting cast as villains because we play them well. |
The idea is that Jodie Foster is with her child and she's going back to New York from Germany with her husband's body. She loses her child on a plane, and you think, 'How can that happen?' There's no record of her having brought a child onto the plane, and the captain is left wondering about whether she's telling the truth. You never really know if she's telling the truth or not. |
There was good chemistry between us and I think we formed a good partnership together, with her being the gutsy, working woman and me being the sort of guy who stays at home mending watches and evolving into another level of man, as it were. |
They're always intense. I think everything is quite intense and that's the way it should be on things... |