Chris Rogers found his latest role through a website. He signed up to Bethemoviestar.com , which he was sure was "a hoax, an absolute hoax." Luckily for him, it wasn't. A 30-second clip of his acting was all that was needed to bag him a role in a series of mobysodes called GSOH. It's also led to his first feature film role, in Rapture.

Suchandrika Chakrabarti met up with Chris in the BFI cafe to find out how he got from pantomime dame roles to feature films, while playing the odd Nazi along the way...  

Last night saw Naomi Watts interviewed for a Screentalk at the London Film Festival.

The discussion took in Mulholland Drive, Funny Games and Eastern Promises, as well as Naomi's background and her experiences of producing. Suchandrika Chakrabarti reports

"I don’t want to be a part of the establishment as such. That’s not my role as an artist. You have to hold yourself apart because our job, as artists, is - not to arbitrarily attack the establishment, I don’t say that - but if that need comes, to step up and do it. You have to kind of hold yourself apart. But as you get older, inevitably life pulls you into it because the younger generation look at you that way. You become the establishment just because you are established, and the younger generation are going, ‘Yeuch, get rid of them.'”

“I’ve probably been over preoccupied with death. I think about it unhealthily too much. Actually, I think I see it as an ashes-to-ashes grand recycling scheme that when we die our body goes into the soil and a tree grows and the fruit grows and a bird eats from the tree, and you go round and round and round.”

I'd kept myself eerily cool right up until the moment he walked in the room.

In those few brief seconds, it suddenly hit me. This is Renton. Sure there's Star Wars and Big Fish and Robots and Moulin Rouge and even Shallow Grave. But Trainspotting was the film that made me and everyone I knew at that time sit up and say 'hot shit that's good' - and Ewan was what made it. And before that I can still remember sitting down to watch my first Dennis Potter series and seeing McGregor in the opening scene, brylcreamed-back hair, calmly stirring a cup of tea in Lipstick on Your Collar and wondering - who is that person who make me  have to watch every move he makes?

There are some actors who you feel like you've become an adult with, and as he walked in the back room of the Soho club we met at, hand thrust forward, I got eerie spine sweating shivers.

"I've heard Richard Linklater say that in the States certain civil liberties are being taken away under the guise of safety - ‘We have your best interests and your protection [at heart]' - and it's becoming more and more not innocent until proven guilty, but you're guilty until proven innocent. I think A Scanner Darkly is kind of quietly dealing with some of those themes. Or something to get out of it is something kind of like, ‘Hey, you know the scene where that man who is on the street with the megaphone is being taken away by the police? You can't dissent.' So there is a little bit of a warning, I think, going on in the film. I think a lot of people, probably in their day to day lives in America now, are ill at ease. I know with my friends and everyone there's a ‘when is the shoe going to drop?' kind of thing. So everyone's not like running around all happy. And in terms of being safe, I don't think people feel at bottom safe."   

I suppose what I think of as evil is sort of anti-human impulses in humans, and doubtlessness is a thing that I think is really problematic, and very much in vogue these days politically. The politically doubtless seem to be being bigged-up and I think that it is anti-humane. So that feels the closest thing that I can think of to a concept of evil. The lack of the capacity to be compassionate, I think.

We can all sit in judgement on huge things - the death penalty, terrorism, war - but until you have to make that decision or you're involved in it, you can't speak. When I was ill, one of the things that struck me was, ‘Oh my God, this happens to somebody else.' You know, this usually happens to the bloke round the corner and they're all going, ‘Oh what a shame.' No, you're the fucking bloke round the corner it's happened to. So, you know, you use your power of imagination and your job is to play the character, not your own personal emotion, but I'm thinking every time Albert did this, he had to see this look in these people's eyes, including women. Call me sexist if you like but your whole instinct is to protect youthful femininity. So when I had to put the noose around Ruth Ellis, I thought, ‘No, this is against nature.'