Most of the crew were staying in Monaco. But my family and I were actually staying in Nice because I had my whole family there and we wanted a little more space and to stay in a hotel. The truth is we were asleep [when the attack Bastille Day terror happened] and woke up the next morning to it and it was obviously horrific. And then the idea of going out and filming, it just felt so stupid to be working the next day and pretending that everything's cool when you're making some frivolous thing.
Essentially I feel like all of that pressure when you're making the first of a franchise of [movies based on] books that mean so much to people that has so much attention on it, it can be quite paralyzing I think. I think a lot of that creeped in the first time around and it maybe affects the work.
I know because the movie's made a lot of money, everyone's relaxed a bit so there wasn't that pressure to set the tone for the movies [Fifty Shades of Grey] so I felt a little more freedom this time and it probably made it more enjoyable.
Jamie Foley - he's a very different energy to [director] Sam [Taylor-Johnson]. The whole experience was actually quite different.
I don't have specific people. There are so many people that I admire and there's directors that I'm desperate to work with that haven't even made a movie yet, probably.
There's very exciting directors who haven't made a feature yet. That's what's cool about the job - the ever-changing landscape of people you could potentially work with.
I'd known plenty of people who'd worked with Cillian [Murphy], and he was one of those people I'd only heard good things about. It's pleasing when it works like this. As Cillian said, it's not always like that.
I think you only watch stuff you've done once because I don't think it's that beneficial to you. I think it's important to sometimes be like, 'What's that thing I'm doing with my face? I didn't think I was doing that.'
I got to watch Anthropoid with this Czech audience and the story means so much to the Czech people so watching it with that audience was kind of terrifying but they responded very well.
It's a tiny industry. Actors all know each other to a point where you always know someone who knows the other person who worked with them.
You're in a very nice position as an actor when you're portraying a piece of history that actually happened and portraying characters that actually existed. There's so much more to draw on and your research as an actor becomes much easier than if it's some fiction that you're trying to create a world around and background and history.
I was and still am a massive fan of [Murphy] Cillian's work - always have been. Obviously he's a great deal older than me, so I've sort of grew up watching Cillian's work. But I'm very much a fan.
I think you've really got to cling to what makes sense to you. Obviously, I'm not a serial murderer in my real life, so that's where you have to delve into and do all the research. But, you have to find something likable in the character.
You want roles that challenge you and that scare you a little and where you can really discover something, even about yourself, that maybe you didn't understand.
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