I love working with people who have had television experience because I think there's a real efficiency and methodology that comes from that background.
I loved working with him [Justin Chadwick]. He was very smart in how he assembled the people around him and had a crew that he knew very well. He was very comfortable on the set and I never felt that I was working with a first-time filmmaker.
I think you need to be able to see a lot of negative in things in order to extract material, so there's probably something to that. A lot of the people I used to work with were very, very, very unfunny offstage, so that's a pretty common thing.
Film sets are great fun. Film people are great people to hang around with. I don't want to run off and be distracted by other things.
I guess subconsciously that all the great people you work with have an influence on you.
I think the beauty of working with young people is they remind you of the spirit of acting and it's just a big play.
It's always bitterly disappointing to people to see how normally one can live.
The longer you have something, the stronger the bond. That's true with people as well as things.
You'll read things and say, this is a really good project and it's probably going to be a hit, but I can see 20 other people playing that part. You have to have some sense of ownership to do a good job and be married to it for ever.
The movies people don't talk about or remember after six months' time don't really matter.
The only thing that may make me different from other people is I have passionate interests outside of work.
Abs are for people with no friends.
If you can jump up onstage and make people laugh, shouldn't you also be able to inhabit a character?