The folk-horror element, perhaps, comes from the fact that more and more Britons find the countryside itself dark and foreboding, an otherworldly place (without wifi). While there is a clear thread of the bucolic running through Crook’s work – as well as Worzel and Detectorists he famously starred in the original production of Jez Butterworth’s hit play Jerusalem, and plays a druid in Butterworth’s Sky drama Britannia – there is also a sense that nature is a powerful force beyond our control.

“There is something mysterious and unknown about it. I have this woodland in Essex and in the height of summer, when you walk in there, it’s so oppressive. There’s so much pollen and insects in the air and things that are making you itch and sneeze and you just think, ‘I’m not actually invited here, I’m not really very welcome’.”

When we speak, Crook has yet to learn from Butterworth or director Ian Rickson how they will be restaging Jerusalem, which is being revived in the West End next year with most of the original cast from 2009, including Mark Rylance, who will reprise his role of Rooster Byron, a mystical drug dealer living in a caravan in a Wiltshire forest.

When Crook first starred in the play, he was in his mid-30s – now he’s 50. Will that change how he approaches his performance? Crook recounts a time during the first rehearsal when the cast visited Pewsey in Wiltshire, where Jerusalem is based (though in the play it is called Flintock), and he met the inspiration for the character of Ginger. “And he was my age, fiftysomething, just a couple of teeth left in his head but he thought he was a teenager.”

It will be instructive to see how the production deals with men like Ginger and, in particular Rylance’s Rooster; older men who ply young girls with booze and drugs. Byron is not a man who fits in the MeToo era.

Nor, while we’re on the subject, does the un-PC David Brent. Crook hasn’t watched an episode of The Office “for years”, but his 18-year-old son Jude really likes it; his daughter, Scout, 14, hasn’t watched it. But the show still stands up, 20 years on, says Crook. “It hasn’t dated as much as I feared it would – but it’s a document of the time.”