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The actor has long had a fraught relationship with the media and their intrusions on his private life. As he promotes his new film with Steven Soderbergh, he talks about life post-Leveson and his love of theatre

'I'm 40! I'm an adult!" shouts Jude Law. "Aren't I?" We hold these truths to be self-evident, I reply, as the actor, laughing, stares across the table with those adorable baby blues and more hair than's fair. "But," he says more quietly, "part of me thinks I can't play a doctor. Who would come to me?"

You've got to be kidding. Who wouldn't come to Dr Jude? In Steven Soderbergh's film Side Effects, Law plays an Englishman in New York, a slimy limey of a pill-dispensing psychiatrist who becomes entangled in murder, drug switcheroos, a risible lesbian insider trading scam and lots more vaguely voguish, putatively Hitchkockian hokum before the credits. Astute critics...

From Bond to Bourne to hairy monsters and sub-humans, cinema has always loved the tube

The freshest image of the tube in moviegoers' memories is not an encouraging one: a train crashing through the walls of an underground chamber and crumpling into a heap right where James Bond should have been standing. Luckily (and implausibly), the train in Skyfall was empty: although Javier Bardem was a villain, he had at least checked the schedules to cause minimum disruption to the service.

The cinematic possibilities of the tube are as myriad as its destinations. It's a great place for action and chases (The Bourne Ultimatum and Patriot Games got there before Skyfall). It's a realm of concealment, strangeness and subterranean nightmares, but it's a refuge, too. For film-makers, the tube is also very convenient: not only does it boast controllable light and a steady climate, it can also provide a mirror image of the city above.