I've done TV and I've done film, and I'm not snobby about it. It's about the project.

L.A. is brilliant, but however long my trip is I'm always ready to leave. But New York I'm never quite happy to see the back of.

I don't lobby where work is concerned. As long as I know I've got something coming up, I don't really worry. It's not that I'm not ambitious, but I don't have a drive to be hugely successful and be working all the time.

I don't think you can be involved in film and not be a fan of theirs. The one that I just go back to and can watch anytime it's on TV and I'll watch to the end, is Fargo. I think it's, like, a perfect film, it's genius.

I'm no good at anecdotes.

It's that TV thing. You can be in the biggest film of the year and it will still not have the kind of impact a TV series has. Once you're in people's living rooms, that's it. There's no hiding place.

It's just the way I'm made. I do feel confident in what I do. It doesn't always work out 100% of the time, but generally I think I can do it quite well. But the other part of my job is doing the press and stuff. And I'm rubbish at that. I'm really not good at that at all - this quite important part of what I do.

I love that thing on Amazon that you can go on and order a book, and you click on it and it says, 'You might also like,' or 'Other people who bought this have bought that.

They're naughty, all those writers - they mess around with people. I know James Gandolfini got a bit fed up on 'The Sopranos': if he said anything in front of a writer, told them a story from his life, it could make its way into the script.

I'm so not a celebrity.

I get claustrophobic in a harness. I'd be a terrible superhero.

It can get a bit boring working on accents.

It was both comforting and terrifying to go in to audition for 'The Girl in the Cafe,' as I'd worked with everyone in the room on 'State Of Play.'