Scott Derrickson breathes humour into a character with a very strong identity in the '60s and '70s, that psychedelia era of Eastern mysticism meeting the West.

I had to imagine myself into certain aspects of [Julian Assange] character for our version of events. That involved extrapolating based on clues in his biography, his public persona, photographs, and other accounts of him by people who encountered him during that extraordinary period from 2007 to 2010 that we charted in the film [The Fifth Estate]. So, it involved a lot of research but, sadly, no contact with the man himself.

The generation now below me were born into a world where if you're a kid with raw talent now, you can roll in and land a lead in a Scorsese film. You don't have to have prove yourself by working up the ranks, doing the classics, and getting the canon under your belt in the way the great Sirs and Dames of mom and dad's generation - the [Ben] Kingsleys and [Helen] Mirrens and [Anthony] Hopkinses and people of that ilk.

Thus, a vision of the whole gradually grew for me that was nourished by the various experiences and realizations I had encountered along my theological path. I rejoiced to be able to say something of my own, something new and yet completely within the faith of the Church. The feeling of aquiring a theological vision that was ever more clearly my own was the most wonderful experience of those years.

Even though my parents experiences were different from mine. I wasn't a child actor brat; I didn't travel with them in the circuit. But I got a look into their world, so I did know what I was getting into, to an extent. And they are a constant source of grounding.

I never was obsessive about anything I watched when I was a kid, except maybe 'The A-Team' and 'Airwolf' And I loved 'Knight Rider' and then later 'Baywatch.'

[While voicing cartoons] you have to lose your sanity and inhibitions and any kind of dignity and just throw yourself around a bit.