I think theatre reminds us what we're doing as actors, because every night and every matinee day, you have an audience telling you what's working and what's not. And that's very good for us as actors to hone our skills.
It's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.
I've sort of done a play every four or five years I guess if I look back in my career. And I think that's good.
My wife's French. I mean I speak a bit of French but I've lived amongst French, you know, most of my adult life.
If I want to do the kind of work that I like to act in, I need to open my mind to it.
When you take the R sound out of French accent, and you just replace it with an R, it sounds Mexican.
This middle-budget drama movies are just gone.
I was quite interested to do television series and I started exploring an idea of a longer commitment, a new idea, a new TV show that would've meant a longer commitment but I opened my mind up.
I think you know, to not open your mind to television is silly because there's so much good work happening on television.
Don't worry about telling your actor what to do.
Actors don't like to read what they're supposed to do.
There's something very self-conscious about a writer who's addressing his reader. Don't do that.
I would encourage you as a screenwriter to trust your story and don't make notes for the actors or don't make notes for the reader.
If you're not engaged in the writing and it doesn't grab you then you just don't want to do it.
I'm sent a script. I read the script. If I love it, I want to do it. And that's it I don't care who's in it, how much money is behind it, really to an extent who's directing it.
I'm a father of four girls and I know very much about the relationship between a father and his daughters.
I keep waiting to be invited to the hip hop party, I've never been. So if there's anyone out there who is having a hip hop party, I'd like to come.
When I moved to London, you could park your motorcycle in the pavement, on the sidewalk. We would stay here and just leave it and go about your business. But now something was sort of encroaching in London. There's cameras everywhere. You can't do anything. You're not allowed to be in a group.
When I would knock about the town in London, I was doing it with my head down, walking very quickly and it had become the norm for me because I'm recognized there. And people are not unkind but occasionally there's a sort of British who do you think you are sort of, I don't really think I'm anybody. I just go about my normal day. But sometimes you're faced with that.
I don't like the idea of not being able to knock about the town, you know.
I think my home is in that sort of the part of cinema that's disappeared is where I lived, that sort of mid-budget you know, drama. I suppose that's what I am known for.
You know, an audition usually is you come in and read the scene and if you're lucky, you get to read it twice.
I've always like sort of, as an actor, I'm drawn to exploring how we are as human beings in given situations and how we act and how we react and what makes us tick.
I'm not a superhero fan. I don't see those films. I'm not interested.
I'm not really a blockbuster, I'm not a member of that audience really.
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