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As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.

So now what happens is the cameras follow me around and capture exactly what I've been doing since I was a boy. Only now we have a team of, you know, like 73 of us, and it's gone beyond that.

If you've got five cameras, you're making sure that you're in the right position for each one of the cameras.

When I started, you didn't focus so much on production, certainly not - gosh - down to the finest little detail of how you shifted your eyes or how you turned to somebody. A lot of the shots were far away from a still camera. There weren't as many close-ups and intimacy.

Once you get into your stride, the camera becomes like another person in the room. It's like being in a very small theatre where there is no getting away with anything because the audience is centimetres away from you.

But slowly I began to use cameras and then think about what it was that was going on. It took me a long time, I mean I actually played with cameras and photography for about 20 years.

I don't like to move the camera that much anyway.

For me, it was more a dramatic shift to go from the stage to the screen.

Sometimes the character will go into a completely different direction than I expected once the cameras start rolling. That's what I love about what I do.