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I wanted to go and explore the world, I guess. And I suddenly thought well, I'll just do it.
I got married because I fell in love with this woman. I had a baby with her because we wanted to have children. But that's not because of some philosophical ideal at all, no.
I don't want to make decisions about what I'm going to do before I'm doing it because I base my acting off my partner and off the other people in the scene.
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.
It is always a nice feeling when you are challenged by a scene and you walk out of trailer and you go on set going I don't know. And then half an hour later you're walking back.
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.
I wanted to make sure that I was making films about the world. So I thought well, I should go and see it. I'm spending a lot of time in - we call them caravans in Britain.
I was forced to make the decision between art and music which are the only two things I liked as opposed to being able to do them both because that's what I was interested in.
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.
There's very few directors that know what that rehearsal's for. And often it's just about calming down the director. If he could see it or she sees it, she goes oh, it's going to be okay.
You would never dream of going on to play a scene in front of an audience at least without having rehearsed it. But you do somehow in front of a camera.
I remember in Shallow Grave I remember a few times when we'd only have to do one take. But when you did have to do more than one, you'd build on the one you'd done.