When I was doing Bean more than I've done him in the last few years, I did strange things - like appearing on chat shows in character as Mr. Bean.

Get that right, then- if you get the quality right, then the marketability or whatever; your ability to sell videos or your ability to earn money or whatever, will follow naturally. But try to be creatively lead rather than market lead. And that's important to me.

I feel as though the camera is almost a kind of voyeur in Mr. Bean's life, and you just watch this bizarre man going about his life in the way that he wants to.

And, we put a lot more value, or at least I personally put a lot more value, on the creative values and creative challenges of something than the commercial necessities.

Apart from the fact that your physical ability starts to decline, I also think someone in their fifties being childlike becomes a little sad. You've got to be careful.

Confronting a stadium audience, you can't see the whites of their eyes. It's just an amorphous mass of noise and, of course, you can't see the alleged billions watching at home either, so the degree to which you are intimidated is quite low.

I don't much enjoy Back and Forth. I mean, I think it has its own particular qualities, but I think it's inferior to any of the half-hour ones we did.

I enjoy racing historic motorcars from the '50s and '60s. The seed of my interest was planted when I was about 12 years old and took over my mother's Morris Minor. I drove it around my father's farm. But my favorite car is still a McLaren F1, which I have had for 10 years.

I think I have an inner confidence that my tastes are pretty simple, that what I find funny finds a wide audience. I'm not particularly intellectual or clever or minority-focused in my creative instincts. And I'm certainly not aware of suppressing more sophisticated ambitions.

I think the character does tend to suit an episodic thing, because what's fun about him is that he doesn't care about anyone else, and it's very difficult for a main character - a lead character - in a movie to not care about anybody else.

I'm very good at having time off. I tend to take whole years off - I had 1994 and 1997 off. I find it very easy; I just love pottering around doing normal things.

In the modern media age we are rarely surprised by what we see. Whether it's on television or film or in the theatre, everything is so advertised, so trailed, that most entertainment is merely what you thought it was going to be like.

In TV, and in particular in commercials, you don't really need to explain very much at all - you just say he's a spy and he's a little bit theatrical and overblown and smug and he's not very good at his job.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

Marketing is what gets you noticed, and that side of it something - this side of it, if you like, doing interviews - is the side of it that I least enjoy, and yet is 50% of the project.

Monty Python crowd; half of them came from Cambridge, and half of them came from Oxford. But, there seems to be this jewel, this sort of two headed tradition of doing comedy, of doing sketches, and that kind of thing.

Mr. Bean is essentially a child trapped in the body of a man. All cultures identify with children in a similar way, so he has this bizarre global outreach.

Not so much in Canada, but certainly in the US, as I'm sure you know, money is all, and if they can get another 26 programs of the same thing even though it advances the culture or those actor's careers not at all it doesn't matter.

Of course, some would say if you have a performing inclination, then you should become a lawyer. That's a platform we use, or a priest. You know, anywhere you lecture and pontificate to people.

People think because I can make them laugh on the stage, I'll be able to make them laugh in person. That isn't the case at all. I am essentially a rather quiet, dull person who just happens to be a performer.