Last week, we asked you for any questions you might have for Edward Norton. Here's what he said...

Hector Jansen from Sweden asked:

"All the films you've been in have all been amazing successes. Do you ever get sick of all that praise that everyone heaps on you?

There's a difference between sincere compliment and a fawning thing. Fundamentally you're sharing when you act. You're not telling stories in a vacuum, you're doing it in the hope that people will enjoy it and connect with the themes. I think it's all about trying to connect with your audience and when people come back and say "I really enjoyed it, was entertained and you were amazing". That's the goal from the outset. It's always very gratifying to me to get sincere compliments.

Henrietta Clifton asked:

"You used to work in the theatre before being spotted for Primal Fear? Would you ever go back?"

I would love to and I look for plays all the time, but I just haven't connected with anything yet. Hollywood is taking up most of my time at the moment but if I found something that I really liked then I'd certainly do it.

Theatre's more visceral, it's a more direct relationship than film and you're literally executing it in the space with the people there in front of you. That has a special energy, but I don't think it's got any more capacity to reach people.

Arguably, I think film has got more capacity to reach more diverse people. I love the theatre and I love the experience of performing live but I do think that the theatre is a rarefied medium in the sense that it has priced itself out of existence of the average person.

Niki Roberton asked:

"Now that you have become an established actor, has the constant intrusion from the press made you compromise anything?"

I've compromised very little and I haven't fundamentally had to change my life. But it's a bit like that Joni Mitchell line - you don't know what you've got 'til it's gone - its hard for people to understand that it's pretty unpleasant to lose your anonymity.

But I never question whether or not not I want to be doing all this. Compromising is a small adjustment I've had to make in return for getting to do something that I enjoy, It's something that I've always felt has value - so I can't really say that fame has cost me much.

Marcus Conners, from Berkshire asked:

"Who are you filmic influences?"

When we had cast my mentor in the film, Milos Forman (Oscar-winning, director of One Flew Over The Cuckoo's Nest and The People Vs. Larry Flynt in which Edward had a major role) seemed the perfect choice. He was great and gave me many insights in to direction. But Keeping The Faith was directly influenced by films like Broadcast News and Jules et Jim.

Steve Delarose asked:

"What's the secret to directing a really good romantic comedy like Keeping The Faith?"

I think that films that explore why characters evolve and mature are really tricky but immensely rewarding when they're done well.

We had to fight (the studios) to develop the characters. People in the studio will literally flip through a script and mark down the entrance of the girl. They'll say, "We need the lead girl to come in by page sixteen. Why is she coming in on page twenty six?" So we said "This is a movie about a rabbi and a priest. To set that premise up in any credible, sincere way has to take time and care.

But these are the battles you wage and I'd like to think that when people make you fight for your point, it actually can be a good thing because it makes you articulate what it is you're after between page one and twenty six. It helps you refine it. Nobody should work in an environment where nobody's questioning anything you're doing because you'll just produce lazy work.

Making a film is always a collaborative effort. A director should listen to all ideas offered. You'll get irritated and tell people to **** off, but you should go home and think about whether there was any merit in what they said.

Roger Samuelson asked:

"What was Ben Stiller like to work with?"

We always had Ben in mind - his character in the original script was called Ben. One of the first conversations I had with him was that he thought all the characters were very straightforward and that he liked that. They weren't worried and plagued by existential angst, as they had too much sense of who they were, almost to the point of cockiness. The irony is that, as well as The Cable Guy, Ben directed one the signature existential angst movies, Reality Bites.

Sandi Teale asked:

"Was your decision to do a comedy a conscious one after the heavier roles of American History-X and Fight Club?"

Actually, I was planning to do another movie that was pretty heavy after Fight Club but it fell apart so I had this window of opportunity and we just jumped in.

Keith Boylin asked:

"What about your run-ins with the British?"

(Edward famously took over direction of American History X from Brit director Tony Kaye after a dispute. He also had got pretty angry with Brit documentary maker, Nick Broomfield, after his scathing film about Courtney Love.)

I couldn't generalise my relationship with the myriad of British personalities out there - I'm a huge fan of many British actors and I'm in fact hoping to do a film with Irish writer Conor McPherson, whose play The Weir, I know, was hugely successful in London and all over the world. It's one of the funniest screenplays I ever read and I really hope it comes off in the spring.