I have two questions. One about working with Michael Caine. Those scenes are just amazing. He seemed almost like the heart of the movie. And also could you talk a little bit about shooting the film after I believe the bombs had gone off in London and what the feeling was and maybe with people even standing around watching you.

Well Michael Caine is just a … You know, he’s just a legend. He’s been at the top as long as I’ve been around and there’s a reason because he’s just a fantastic and very special talent and we had a very strong connection because we’ve both done a couple films with Mike Hodges. He did the original Get Carter which was an important film in Michael’s career and Croupier was a very important film in my career and so we had that strong connection. And the most important thing in those scenes was that that’s the one place where Theo relaxes. The rest of the time he’s a defeated, very sad person. But then there’s a light, there’s a warmth, there’s a humanity about their relationship so we just had to look like we were really comfortable and he’s my best friend. He’s the guy that, you know… So that’s what we had to nail in just those few scenes we had. And he was a delight to work with. The bombing scene, the scene at the beginning of the movie where the bomb goes off, was the worst day’s filming. It was really upsetting for everybody because it was close after the bombings and I was amazed we actually got permission because it was a big explosion and we were right in the center of London and it was just incredibly eerie and awful and it’s very poignant. I think it’s a very incredibly sort of poignant and profound opening to the movie to have that happen and set the tone and say ‘This is the world we live in. This is 30 years’ time and this is the world we live in.’ Because you know I’ve got two young girls and the fear and the trepidation about the future is that this feeling of fragility and fear of these things happening … you’re bringing kids into the world and this might just become part of their lives. That’s just what they deal with and that’s an awful and worrying idea really.

Considering Alfonso’s ambition, was there ever a moment where you were concerned with the picture or starting to think ‘Is this going to work?’

Personally, yes. With what I was doing, yes, because as I said before, he’s not a dynamic lead character and you’re holding a film. I’m in every single scene in the movie. When you’re holding a film of this sort of scale and size and you are playing sort of sad and apathetic and the way you pitch that, you worry if it’s holding. You worry. It’s not like I can be proactive and take the character in the film and take people through the movie. That isn’t the kind of character and I knew… my instinct from the very, very beginning was that thing I said is that I didn’t want to get in the way of his vision. It wasn’t about doing good acting in this movie. It was about…he thinks very wide, Alfonso. He’s about environment. He puts characters in environments. He doesn’t… if you notice, there are very few close-ups in the movie. There are very few times where he goes in on something, and there’s a reason when he does. But most of the film is done wide. There’s an awful lot sort of just following me and you worry that as an actor that it’s holding because you can’t do the strong things because that’s not what’s required. It’s something else. It’s about I felt I just wanted to serve his vision and not get in the way of it and bring something to it, but you don’t know where that’s pitching. You don’t know if you’re playing somebody who’s reluctantly dragged through the first part of the movie, you don’t know if the audience is going to go, ‘Why should we even be going with this guy because he doesn’t want to go on the journey?’ So there were times certainly where I was involved, but he… you know, for me, the opportunities I’ve been getting in the last few years are hugely appreciated and the opportunity to work with him was a really great one and I think the film is one of those that later on in my career when I look back it will be one that I am very particularly proud of, I think.

Are you looking forward to Sin City 2 and playing Dwight again?

I honestly don’t know what’s happening there because everybody’s talked about it. It’s been announced a few times that it’s happening but I have no idea what’s happening there. I mean I don’t know when they’re going to do it, who’s doing it. I have no idea.

Well the story they’re doing is A Dame to Kill For which is before The Big Fat Kill. Are you familiar with that?

Oh, I know that but it’s just that’s been talked about and it’s floating out there as an idea but no one has ever talked to me about it.

Well that does come from Robert so that is the story.

[laughs] No, he told me that that’s what he’s doing but I have no idea when or what’s happening with it.

I heard you might have seen a rough cut of Shoot ‘Em Up.

[laughs] News travels fast. Yesterday.

I was wondering what you thought of the version you saw?

I think it’s going to be a pretty wild, highly original, crazy ride of a movie.

What did you hear from Mexico?

I’m actually going to Mexico next week so I’ll be out of town even more. We’re going to open the film there next week. I don’t know what I learned about Mexico but I adore working with Alfonso. I know all those guys. They’re hugely talented like Guillermo del Toro and Alejandro. They’re huge talent and I love the way they support each other as well. They were all at the screening last night and I think it’s a very healthy thing they do.

Can I just ask quickly about Casino Royale? Now that that’s been put to rest, what are your feelings on it?

I can’t wait to see it. I’m really looking forward to seeing it and I think he looks great in it so… I haven’t seen it but I’m going to see it soon.

Are you happy not to be asked about Bond anymore?

I’m very happy in my flip flops in this one.

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