I don't have a story about an epiphany in which I suddenly realised I wanted to be an actor. It was much more a case of the idea dawning on me gradually.
I loved Catherine Deneuve, Sophia Loren, and Ursula Andress. They had an incredible strength but fragility at the same time, especially Catherine Deneuve, who had an aloofness that impressed me.
You think there's a rule book, in a way, until you realize there's absolutely no rule book, and you can use a red carpet to express something about yourself. There are so many wonderful designers in the world, and they create such wonderful things. Why go with something uninteresting?
I have to say that filming 'The Night Manager' was not just amazing but also very daunting at first. I used to describe myself as the token plebeian surrounded by all your national treasures. All that glittering talent in one place; I knew Hugh from Fry and Laurie videos that my grandpa used to watch, and Tom Hollander's 'Rev' is hilarious.
Red carpets are awful. They're like a kind of purgatory - you stand there, and there are cameras flashing everywhere. One of my first red carpets was in Cannes for 'The Great Gatsby,' and I'd never seen anything like it.
That world of spies and espionage, there's a coldness to it. That's what makes those worlds fascinating - and what makes le Carre's work so interesting.
