I can't honestly account for the very personal response that I have to one story and not another, a sense of an orbit, the orbit of a world that draws me as my own life recedes.

One of the great privileges of having grown up in a middle-class literary English household, but having gone to school in the front lines in Southeast London, was that I became half-street-urchin and half-good-boy at home. I knew that dichotomy was possible.

You don't merely give over your creativity to making a film - you give over your life! In theatre, by contrast, you live these two rather strange lives simultaneously; you have no option but to confront the mould on last night's washing-up.

I suppose it's a very highly developed form of denial, but some part of me completely denies that I'm a performer.

I don't torture myself. And I do the work because of the pleasure involved. I'm satisfying a compulsion I find nigh-on irresistible. It's not necessarily because of the work itself. I just feel the need for a period of regeneration afterwards. Like leaving a field fallow when you've grazed too much on it. I feel depleted.

England is obsessed with where you came from, and they are determined to keep you in that place, be it in a drawing room or in the gutter.