If you're growing up in a chaotic world without reason, your instinct is to become a performer and control the circumstances around you. You lead from weakness into strength; you have an undefended back.

I've always had difficulties with female characters.

When I was 16 or 17, anyone could have had me if they sang the right song and recruited me in the right way. Which is why I've always had a sneaking understanding for people who took the wrong route. That doesn't mean to say I took it or even contemplated it myself.

I wrote 'The Spy Who Came in from the Cold' at the age of 30 under intense, unshared personal stress and in extreme privacy. As an intelligence officer in the guise of a junior diplomat at the British Embassy in Bonn, I was a secret to my colleagues, and much of the time to myself.

I was a huge pop music fan as a kid, but the bands I was into were like 5ive and N-Sync. It was like watching a cartoon. There was so much going on, and the production was so well mixed. Stevie Wonder was able to give you those melodies and production but back it up with such creative integrity and real musicianship and artistry.

I've never been a frustrated person because I learnt at a very young age that the frustration I had inside of me had to do with creativity and the ability to transform that into action. I realized very early my restlessness had to be channelled into things I could do.

Acting is a general thing; it's not like being a primary artist like a painter or writer which stands the test of time. I don't think acting stands the test of time, but it can capture the mood of the moment, which is in itself very exciting, but it rarely lasts.

You know, in my music career there was a moment where the irony was just so heavy. There were people in my audience that were the reason I developed neuroses. These people that tortured my life were using my art, my poetry, as fuel for them, to torture other people.