Explaining the difference between the first series of the uncompromising French policier Braquo and the second, which he has come on board to write, Abdel Raouf Dafri says his take is “even more violent, even more sarcastic. The line between the good guys and the bad guys is even more fluid”. Dafri knows about bad guys. He wrote Mesrine and A Prophet. He also knows series one of Braquo is a tough act to follow.

Zach Braff (b 1975) is overwhelmingly known as the star of Scrubs, the hugely popular American hospital comedy which came with a side order of surrealism. But fans of low-budget indie cinema will also cherish fond memories of Garden State, which he wrote, directed and starred in alongside Natalie Portman. It told of a young actor/waiter on anti-depressants who after nine years in LA comes home to New Jersey for his mother’s funeral and finds a panacea in the form of a beautiful, equally troubled young woman.

A few years ago something curious happened to Tom Hollander. He grew up. As a brilliant young actor he won the Sunday Times Ian Charleson Award for a series of stage performances whose governing tone was mercurial energy. But as he moved into film, the sense was of an actor who was more eager to be noticed than believed. In the past few years, however, he has found a vulnerable side, as a hapless government minister in In The Loop and most recently as a minister of the church, the Reverend Adam Smallbone. This week sees Rev’s second coming.

David Leland (b 1947) has worked extensively both sides of the Atlantic but he is best known, both as a writer and a director, for his shrewd observations of ordinary people struggling against the constraints and hypocrisy of the accepted social mores of English life in films such as Mona Lisa (1986), Personal Services (1987) and Wish You Were Here (1987). However, it was Made in Britain (1982), a television play written by Leland for Channel 4 and directed by Alan Clarke, that first brought Leland widespread acclaim and the story of Trevor, a sociopathic skinhead, indisputedly destined for a life of incarceration, is assured of its place in television history.

Nicholas Parsons has been an actor – he is most adamant that he is first and foremost an actor – for almost 70 years, so it’s not surprising, given the erratic nature of his profession, that he has been obliged to assume a number of alternative guises over the years from leading man to comedy sidekick to quiz master. Yet despite this, he is no chameleon. He has somehow managed to pull off the trick of being supremely adaptable whilst remaining resolutely true to himself – you’ll never catch Parsons dropping his aitches or wearing age-inappropriate clothing. Always dapper, slightly prim and a little aloof, he is the consummate professional and, at the age of 87, more in demand than ever.

Christopher Eccleston’s performances have a raw-boned, visceral quality which makes him a sometimes unsettling - but always compelling - actor to watch. Since his big break in the harrowing Let Him Have It (1991), playing Derek Bentley who at 19 was the last man to be hanged in Britain, Eccleston has played Hamlet at the West Yorkshire Playhouse and worked alongside some of Hollywood’s biggest names including Kate Winslet (Jude, 1996), Cate Blanchett (Elizabeth, 1998) and Nicole Kidman (The Others, 2001).

Comedy writer John Sullivan has died aged 64, writes Adam Sweeting, after spending six weeks in intensive care battling viral pneumonia. The creator of several hit comedy series for the BBC, Sullivan is guaranteed immortality for his masterpiece, Only Fools and Horses, which ran from 1981 to 2002. Featuring the escapades of the wide-boy south-London brothers, Rodney and Del Boy Trotter (Nicholas Lyndhurst and David Jason), it became one of the best-loved British comedies ever screened, and also gained a substantial international following. A 2004 poll named Only Fools... as the best British sitcom of all time, and the show's 1996 Christmas Special scored a ratings record of 24 million viewers.

"I’m very hard to categorise,” says John Byrne (b 1940), tugging at his magnificent moustache. A restless, defiant, shape-shifting polymath who was an exponent of multimedia long before computers ruled the world, Byrne's singular career is perhaps doomed to gentle underappreciation simply because he can do so much so well. “If you’re hard to categorise they don’t like that." He peers into his coffee as though looking for something. "Whoever 'they' are.”

“There is a sense I very much get about this place. Italians know what life is for and they know it won’t last very long. And so they take advantage. I like that. Particularly at my age.” The last of several times I interviewed the British crime writer Michael Dibdin (1947-2007) was four years before his death. It was a freezing February morning in Bologna, where he was researching the 10th and (it turned out) penultimate book in the Aurelio Zen series. The interview was at 9am. In the fug of a crowded bar, Dibdin soaked up several espressi and a warming tot of grappa.

Eileen Atkins (b 1934) acquired long-overdue fame with her performance in the BBC adaptation of Elizabeth Gaskell’s Cranford. Her desiccated spinster was the indisputed star turn until death did us part. It’s taken a while. Aside from half a century’s commitment to the classics and new plays, unlike the other more celebrated DBEs she has had a parallel career as a writer. There have been two plays about Virginia Woolf, as well as a screenplay of Mrs Dalloway.