Characters in TV and theatre tend to experience a lot of conflict, so I push myself through sport to physical and emotional levels that hurt so I've some other reference for extreme experience that isn't me shouting at my girlfriend or my mum. It's a way of controlling the uncontrollable.

At a party in L.A., I met this middle-aged gentleman who I was talking to for ages when I asked, 'So, what do you do?' Turns out I was speaking to legendary music producer Quincy Jones, who worked on Michael Jackson's hits. And there was little old me rattling on - I was so embarrassed.

I do revel slightly in the fact that I am what I am - an English, middle-class, public-school-educated bloke. There is a reputation with that of being slightly stiff, but whoever gets to know me will see some other element - whether it be vulnerable or silly or camp.

Even though momentarily I thought about being a doctor, I was always involved in theatre and did a drama degree. I just didn't have the guts to go, 'Yes, I'm going to be an actor,' until I was probably 21.

You get your heart stomped by the opposite sex, and you're hurting so badly that you write 'Sometimes When We Touch.' But then what happens when you've been married for 25 years? You can't rely on those emotional male-female roller coasters. You have to start using your imagination and the powers of empathy more.

The great secret of a successful marriage is to treat all disasters as incidents and none of the incidents as disasters.

Sometimes you could be in an unhappy relationship; you are very much in love with someone, but it's making you unhappy and you think things can change and you can work it out.

The notion that the public accepts or rejects anything in modern art is merely romantic fiction. The game is completed and the trophies distributed long before the public knows what has happened.