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There was so much about South African history that I needed to know, before I could stand any chance of understanding where Blomfeld’s warped sense of entitlement came from.It just made no sense to me, and I knew it was going to take a mountain of work.

BANA: I like the premise of having two people who are at polar opposites of something, that were forced to sit down and try to communicate their sides.

It was just one of those ones where you have to really jump into the deep end, and trying to learn and understand a lot of the history was the first step. It was a very short shoot, so I just led a very, very simple existence for the month, or whatever, that we were shooting.

I enjoy being quite monastic when I’m playing that sort of character. I just try to sit with it, and then deal with it when it’s over. It wasn’t a very long shoot and it was a very intense schedule, so that really helped.

I don’t read other people’s scripts with an eye to direct. I don’t think I could look at someone else’s work to direct.

I may or may not be working on stuff, in the background.

It was playing someone who’s own sense of what they believed in was unmovable and they’re unflinching in their belief. It was incredibly intense because we were on a very tight schedule and we both had very, very intense characters to play, in our own way.