I'm sure that a French production of this [Maigret series] would be different. For better or worse, who's to say, but probably not very good for 8 o'clock on ITV.
One of the conventions that I always liked was Doctor Zhivago, where everything that's written on the screen is in Russian but everyone speaks English. That seemed to me to be quite a good convention to follow.
We haven't made any particular decision [on Maigret], I haven't been asked if I want to carry on with it. All these things are a matter of whether you feel as though the idea is developing and whether it's still interesting to play.
At the moment, I'm certainly not thinking 'never again', but neither am I thinking 'I can't wait to play that part again'. I'm somewhere in between.
Although the great frustration about this [role] is the fact that there's one thing Maigret never does, and that's drive. He's always driven, or he takes the train, or he gets the bus. I was saying 'Well, why don't we ring the changes for the 21st Century, and stick him in the car?'. [Executive Producer and son of the author, John Simenon] said, 'Well, you can if you want, but there'll be lots of people who won't like it'. So he's a non-driver ... But no, Top Gear was never a consideration for me; and neither was I asked
I would never be a television presenter. It's not something I could ever do.
Certainly in the second film [Maigret's Dead Man], which is quite a more unpleasant and darker story, it's quite different in tone and feel.
[Georges] Simenon could be very brave like that. You never quite know what you're going to get or how the story's going to be told.
I've read about eight or ten of the original novels, and one of them is where Maigret's in bed for the entire story! His wife is running around and solving the case!
The Maigret stories are all very different in terms of the content and the way that the stories are told. They're not what I would call formulaic.
[Maigret Sets a Trap] was always going to be the first film, and it seemed to be quite a nice story. But of course it meant that here I was playing this new character for the first time, in a place where he had been a relative failure, as all these people had been murdered and the pressure was on. Rather than starting optimistically with his pipe in front of the fireplace, he was in quite a difficult place.
The character [Maigret] is bound to change and develop, and I wouldn't like to claim that we are perfectly formed straight out of the box. I think it's what I'd call an 'optimistic start'. As you know, for me, no glass is anything other than half empty, so I apologise for my reticence in terms of promoting this programme.
The first couple of weeks of filming were quite tricky for me to find my feet with the character [Maigret], which wasn't helped by the story that we were telling.
[Maigret] is terribly self-contained, not that I would ever wish him to be any more comic, particularly, but in the second film we've made you see he's a little more ironic from time to time. But as I say, that's just work in progress.
[Maigret] is more internal. I think if we made more of these I might let him out a bit.
When you play a serious role, as far as I'm concerned, I feel I'm using exactly the same skills, whatever they are, to play the role as you do with something more obviously comic. It's slightly different muscles, but the same skill set.
I'm not looking for anything other than an interesting role to play.
Art is something that nobody laughs at and nobody makes any money out of is the attitude, which I would dispute.
The one thing I would never wish it to be thought is that you play serious roles in order to achieve some sort of respectability which you can't if you're playing comedic roles.
I don't think you should be too absolutist about what you play and what you don't play.
I don't really have plans like that [move towards more dramatic acting].
I would never wish to say that I've finally waved goodbye to any character, it's just that the emphasis tends to shift.
The arts community still has a long lasting cynicism of the importance, or the artistic value, of comedy. Comedy is just farting about for money.
It is very linear storytelling, and I think that's not so much the fashion. I was watching a new drama the other night which was extremely non-linear, where you flash back and flash forward in ways that certainly keeps you on your toes as the audience. There's not much of that courage with the storytelling in our Maigret film.
This is sort of inflection-free acting [playing Maigret], and I really wasn't sure if I could do it - you make your mind up on whether I've succeeded or not. But yes, I found it difficult when we were shooting; it was a couple of weeks before I settled into not worrying - to finding a way of delivering those lines - so my worries of many months before I think had been justified. I found it a difficult way of being.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: