Something is dreadfully wrong. Despite a fearsome reputation as a journalist-loathing grump, Tim Roth appears to be wearing a smile. I can clearly see it poking out either side of his fuzzy beard, darting around his lips as if to imply its owner is actually happy.

Maybe we can blame it on the sunshine. Sitting poolside in the splendour of Pasadena's rather luxurious Ritz Carlton Hotel supping an Amstel Light and chain-smoking, being crabby could simply require too much effort. It's very possible that the 12 years he's spent amongst the California palms have cooled the raging anger once displayed so menacingly in his debut film, Made In Britain.

Certainly the man who's chosen the gentle Los Angeles suburb of Pasadena as a home "because it's quiet, the schools are good and it's away from the film business" bears little resemblance to Trevor the Skinhead.

As indeed he shouldn't. He was a 20-year-old art school dropout then, and now he's 42 and one of the UK's busiest acting exports with over 50 films to his name. Though he hasn't entirely escaped his routes: out next is To Kill A King in which he plays another famously angry young Brit, Oliver Cromwell.

"I'd say it's home here now," he admits. "I like working over there but I don't know if I'd live in England. I thought I might when Blair got in, but then Blair turned into Blair so there's no real point in coming back. Though it's a very bizarre time and living in America is tricky as well. Personally, I think there will be many more wars as a result of this one."

And talking of war...


Why play Oliver Cromwell?

I just thought it would be interesting to play an historical character. When I was at school it was part of the curriculum and I hated school and hated my history teacher. So I thought I'd better get the books, and there are tons of them. Unfortunately it got to the point where I said 'sod that' and just used Michael's (Barker, director) references for the film.


The film famously had financial problems; did you chip in?

The entire crew did. They deferred money to keep the film going - it wasn't just the actors. Though it was hard to keep your enthusiasm up at times. But if you decide to make a film you have to have full commitment to it. Plus Michael was the key to it all; he was really honest with everybody from day one.


Is it true there wasn't enough cash to hire extras?

Well there wasn't enough money for battle scenes, so they did the computer tricks, which I thought was fascinating. They'd design a crowd and put them in and move sections of them around. It was filmmaking on the run.


What drew you to filmmaking in the first place - fame or acting?

It was acting. I wanted to go to art school but I did a play for a teacher at school and that was it, I was hooked. Though certainly at the beginning you imagine yourself in Hollywood with all those accoutrements, but at that time a good review in the South London press is top class. There was a long period that I really enjoyed going to the parties, the premieres, getting your picture taken with famous people; all of the crap that goes along with it. It's pure ego fodder.


Your first job was Made In Britain, which you're quoted as saying is "the best film I've acted in".

It was the best time of my life, really. I was selling advertising at the time but I was crap at it, and I heard about these auditions, went in and got the job. I'd never been in front of a camera before and being directed by Alan Clarke specifically was the best lesson I could learn. I got taken to school really; it was my training.


Shortly afterwards came Meantime with Mike Leigh. How did you find the improvising?

It was a gruelling process. Again it was like going to school really: Mike's a very strong personality and it was long days and nights.


You met Gary Oldman on that set too.

Yeah - he said to me 'you played a skinhead, does this look right?'. He had an account with a pirate cab company, I remember, and so we both got the same cab number and we thought we were very flash. We ended up going out and drinking and hanging out, but then you move in different directions.


How was it working with Terence Stamp on The Hit?

He was lovely, very very funny. He was the class act; the naughty boy who'd made good. And a handsome devil. And John Hurt was fun too; it was all a bit of a laugh. I'd never even been on a plane, never been properly abroad in the sunshine, and it was great going to Spain. I think Marijuana was legal then and we all smoked a bit of weed, got drunk and I was in a movie. With proper actors. They all treated me very nicely and I got a pay packet. I think I got two grand for that one and that was a hell of a lot of money.


That won you the Evening Standard Award for best newcomer. Did that seem important?

Yeah, it felt good, though I used to keep crayons in it for the kids and I've lost it now. And I got nominated for a BAFTA; but I didn't win, though Alan Parker let me touch his. I didn't admit it at the time but when I didn't get the BAFTA I was pretty upset about it.


Are you very self-critical?

Put it this way - I don't see my films any more. It's actually really helpful. I don't read reviews and I don't read interviews, good or bad, and I don't see the films. As a consequence you just remember the times that you had on them individually and you think of them as good or bad with regards to that. It's been 20 years now and I know how bad I am at certain things. You know when you've done a good scene. I know what I look like and I''m over it.


What are you not happy with that you've done?

The Cook, The Thief ; I loved working with Michael (Gambon), but I thought I did an atrocious job on it. I liked the film, but I was garbage - naïve and stupid.


Shortly after that you worked on Vincent & Theo as Vincent Van Gogh.

It was another case of playing an historical figure; I did my research, read the letters, looked at the paintings but the character ended up based on my dad. He was my father's hero&; I spoke to Bob (Altman, director) but decided to go with my dad's feelings on it. And the experience of filming; we were going wild in the south of France. And Holland; just outside Amsterdam, but mostly in it. And we were given so much freedom by Bob to write the scenes. He made us feel like we were in control when in fact he was completely in control, which I think is a smart fucking move.


How did you deal with pretend painting?

Well I painted at art school and at home with my family; my family were all artists of some kind. They had a painter in situ and they'd give me stuff they'd started and I'd just re-do it.


Easier than pretend piano playing in The Legend of 1900?

That I was really faking; we spent months on that. There were 21 pieces I had to play and I can't even play chopsticks. I've not a clue. It was terrifying to me. We ended up using computers and old tricks like that (puts hands behind his back) with another pair of arms coming through. Old school mixed with hi-tech.


It wasn't long after that that you moved to the States.

I'd been in LA with Vincent doing press and had got an agent too. I decided to come to do the rounds for a couple of weeks. I then thought I should stick at it for a couple of months so rented a flat and got Reservoir Dogs. I wasn't intending to live here, but it was that thing: if you're invited to the party you might as well go.


Talking of Reservoir Dogs...

We didn't know what was going to happen with it but we did think it was good. It was a wonderful script but I remember Harvey (Keitel) saying to me 'I think this is pretty good - keep it quiet'. And when I saw it I was blown away. It was a tough little film - it was a boiling hot summer and all that fake blood dried and you stuck to everything. But then other people ended up being in the pool of blood so I had company.


And working with Tarantino?

I loved it ; you hit the ground running. He's high energy and he's very funny and knowledgable about the camera, and he's terrific with actors. I laughed my arse off and couldn't believe my luck. And with Pulp Fiction and Four Rooms; I loved making Four Rooms. The film didn't work but I loved working on it.


Were the expectations higher for Pulp Fiction after Dogs' success?

Not for me. I was glad to be in it and he wrote a part that was specifically for me and Amanda (Plummer). That part of the film, the bookends of it, we did as one five-day short film on the first week of filming. We had a great time doing it, the madness of it.


Why aren't you in his new project, Kill Bill?

I was busy but I'd love to work with him again. I'd come in and just do a walk through on it if he wanted. I spoke to him before he went out to do it; though you've got to reserve the director's right to go further afield.


Four Rooms and then Lucky Numbers were comedic roles; how was that for you?

I think comedy in general is the most difficult thing on film; on stage you know immediately if it's working or not. On film you've no fucking idea. The danger of comedy is that it becomes such an in joke that you can't see the wood for the trees.


You're definitely better known as a villain.

Yeah, they're the ones I seem to be asked to do more. It's seriously good fun though. I'd love to have done a Bond film; or an action movie type thing. The closest I've come to that is Planet of the Apes.


More of which later, but first Rob Roy which brought you an Oscar nomination.

Ha, yeah; but I thought I was going to get fired! I thought it was so over the top that the studio would see the dailies and say get someone else to do it. To the point where I was ringing my agent and saying you better get another job lined up. But Michael (Caton-Jones, director) really pushed me through on it, telling me it was the way to go. And it worked, so all credit to him.


How was Oscar night?

I got a really bad headache but what's good about it is you can go to the bar and they put someone in your seat. So my wife and me had a great time and we went to all the parties.


How did you prepare for your reaction face?

Quentin said 'say oh fuck' if you don't get it. What actually went through my mind? 'Oh fuck!' You really want to get it. You want that fucking trophy.


The next year you got to work with Woody Allen on Everyone Says I Love You.

He sent me a hand-written letter that was really funny and nice saying he'd love me to do this film and that it was a musical. I was a bit nervous. I got to the set, I'd learned my lines and he comes up and says 'this is a good line, it'll get you a laugh; all of this do whatever you want; but you've got to get to this line because it will serve you well." So although it was structured it had a very improvisational feel to it. A lot of people find he's not very funny on set and expect him to be but there was one time I went behind the camera and watched him and that's where he's funny. When he's there with all his mates; fucking hilarious.


By stark contrast you worked with Tupak Shakor on Gridlocked.

Actually he was very funny too! I didn't even want him to be in the film - I didn't know who he was - I just wanted an actor, not a musician. But we went to a restaurant and he came in with an entourage and he sat down and auditioned. He knew so much about the role and I got on with him like a house on fire. There are actually tapes of me and him rapping together recorded at Death Row Records! I'm hoping they've been burned. It was one of the nicest relationships I've had with another actor; I found him to be incredibly talented. I used to call him 'New Money' because he had the Bentley and a different model in the car each day, and he used to call me 'Free Shit' because I always used to get loads of free stuff. It's a shame what happened; I think he could have gone on to be quite something as an actor.


It was just a few years ago that you directed your first film, the War Zone, which deals with issues of abuse and incest. What drew you to the project?

I have a personal connection with that subject matter; I was a victim of abuse. It was a family thing - I hasten to add, not my father, not my immediate family - so I felt qualified. That doesn't mean to say someone who hasn't been abused can't make a very good film about the subject, though I just felt I could bring something else to it. But I wasn't actually looking for a film about that subject, it was pure coincidence.


Was directing harder than you thought?

It's the best job in the world; the best time I've ever had with work on every level. Inspirational. Of all the directors you've worked with; I was the best!


Who was the most influential?

I'd say Alan Clarke, his treatment of the crew and the treatment of the actors and his communication skills. That's what impressed me when I worked with him and they were lessons I took with me. And Ken Loach was the biggest inspiration in terms of taking on difficult subject matter and not being afraid to push. I'd love to direct another one now; but raising the money is very difficult.


Talking of raising money; Planet of the Apes was a rather big budget affair.

Oh yes, there was plenty of money for that. Going onto the set was like walking into a city. I was a big fan of Tim Burton's work - I loved Ed Wood very much, and the Batman films - loads of them, fantastic filmmaker.


Did you get a chance to speak to (original ape) Roddy McDowell before he died?

Actually Roddy was someone I knew. I met him at The Oscars and he was a great photographer and he asked if he could take my picture. So he did, then he used to have these extraordinary dinners that he'd plan for months in advance and invite people that didn't know each other.


Did he pass on any monkey mask tips?

No it was a very different deal then; he had very rigid makeup. Ours was grafted on to our faces - to actually perform with it on is amazing. I loved vanishing; it makes you feel a certain way. It becomes part of your physique. And the girls liked the apes; they were very drawn to the animal.


Were you equally drawn to Helena Bonham Carter's ape?

No - I was never drawn to her as a monkey. Funny that. I think I found Paul Giamatti more attractive as a Urangutan, though I never told him that.


You ended up doing a scene with Charlton Heston in Apes, someone you've spoken out against in Washington for his association with the National Rifle Association. A tad awkward?

It was very weird. When I found out he was going to do it I was already contracted so I couldn't get out of it. And I would have as I feel very strongly about that monster. I made my feelings very clear on the set and they were very worried about that day, as was I. But I got myself in makeup and I put all my gear on - including the rubber hands so I wouldn't be infected if I touched him - and I went in. We sat and did the scene and he couldn't remember any of the lines, which may be down to the Alzheimers. It ended up with me sitting on the bed with him and feeding him the lines. We did the scene and I promptly left. I had to approach that time in my life with a certain elegance instead of being a total prick about it.


Do you ever tire of the whole acting thing?

I go up and down. After doing War Zone, I told Ray Winston - who's probably one of my favourite actors and one of my favourite human beings - I was going to quit acting. He just slapped that out of me completely. If I could direct I'd direct all the time but acting is an extraordinary opportunity.


You once said you live under total fear of unemployment. After all you've achieved, is this still the case?

Oh yes - I think every actor does. The bottom line is it can all just go away...