“I drive a motorbike, so there is the whiff of the grim reaper round every corner, especially in London.”

Kevin Feige said to me: “I don’t think we’ve ever put an actor through quite as much as this, physically and mentally.” I’ll wear that as a badge of honour. It was endless.

I tend to have a cup of tea, try to stop worrying about what I did wrong, cool down and will the audience back in as soon as possible.

Sherlock [Holmes] is on the side of the angels, but don’t think he’s one of them. He uses similar means, but it seems to be for a better purpose, one would hope.

The more charming person is the person who admits the other person is more charming.

Fame is a weird one. You need to distance yourself from it. People see a value in you that you don’t see yourself.

I was the boy that turned a girlfriend into the most celebrated lesbian on television. I got so much stick for that.

If you can’t jump on board when the ride’s going past that’s it, it usually goes by, so the hugest compliment they paid me was to come back to me. It motivated me to try to fulfill their faith.

People’s hands fascinate me. It’s tempting to look at a businessman’s left hand and see if there’s an indentation from a missing wedding ring. Or maybe there’s a tan line and the skin is pressed down where’s he’s worked a ring off his finger.

I can’t stop traffic on Fifth Avenue, not unless I walk in front of an oncoming cab.

I feel that TV and film feed off each other well. It’s more in the perception of the viewer than it is of the actor.

I’d love to do a noir. I think Steve McQueen is so cool. But a classic film is a classic film, and perhaps the fantasy of being those characters should be left alone. You’re treading on very thin ice.

I haven’t done period dramas back-to-back, or really anything back-to-back. You get asked to do what you’re most recently famed for, so I’m careful of not repeating myself.

If you have an over-preoccupation with perception and trying to please people’s expectations, then you can go mad.

Being a posh actor in England you cannot escape the class-typing from whatever side you look at it.

The further you get away from yourself, the more challenging it is. Not to be in your comfort zone is great fun.

My first, big, silly role at school was as Arthur Crocker-Harris in Rattigan’s ‘The Browning Version,’ where my job was to make school-masters’ wives weep with recognition.