Either it’s a bizarre accident. Or there’s something in the water. Port Talbot, the unlovely steel town in Wales where smoke stacks belch fumes into the cloudy coastal sky, has been sending its sons to work in Hollywood for decades now. Richard Burton was the first to put his glowering blue eyes and golden larynx at the service of Tinseltown. Anthony Hopkins, for all his American passport, has never shed the native tinge from his accent. And in recent years there has been Michael Sheen (b. 1969).

Julianne Moore (b. 1960) is a true rarity. It’s not just that her hair flames like no other star since Katharine Hepburn. Or that alone of her generation she seems impervious to middle age’s indignities. There’s something else. Having worked with dinosaurs in The Lost World and a cannibal in Hannibal, she is mainstream enough to be considered a genuine leading lady. But much of her most eye-catching work, often written for her by indie directors like Todd Haynes and Paul Thomas Anderson, is fiercely extreme in spirit.

No one understands escapism like Willy Russell. Either side of 1980, he wrote two plays about working-class Liverpool women in flight from a humdrum existence. In one a young hairdresser seeks fulfilment through a literary education with the Open University. In the other, a middle-aged housewife has an island-holiday romance. As films, Educating Rita and Shirley Valentine earned Oscar nominations for, respectively, Julie Walters and Pauline Collins. As plays, they have barely been off the stage in productions all over the world.

“You’ve no idea how boring everything was before I met you.” As written by Nick Hornby and spoken by Carey Mulligan in An Education, these words of gratitude come after a moment of stillness in which Jenny, Mulligan’s character, reflects on her experience as a 16-year-old schoolgirl taken on a social joyride by a 35-ish hustler, David (Peter Sarsgaard).

Michael Caine has made more than 100 films: from Zulu, The Ipcress File, Alfie and Get Carter to The Italian Job and Educating Rita. He won best supporting actor Oscars for Hannah and Her Sisters and The Cider House Rules. This interview dates from 2007 when his more recent films were the remake of Sleuth with Jude Law and The Dark Knight. A sharp dresser, in black trousers and polo shirt, he was slim and fit and did not look 75, despite the lines and thinning hair.