I'm not interested in a good man's life. I'm interested in contradiction.

It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable

I'd probably have been wealthier if I had stayed with law, but pretty miserable doing it.

I think any actor that says 'I never watch my films' is a liar because you have to watch it at least once and also you're going to watch it when you're doing your ADR.

I hope that I have gained some wisdom, but I don't know. I have kids, and that certainly puts things into perspective. I think I'm a more patient person. I hope I'm a more patient person. I'm a little more relaxed about the peripheral side of this business, which I used to find very confusing and alarming.

I'm kind of loath to pick one project over another or whatever. You go into every film sort of thinking it'll be your best work, and that's necessary. I think in this business, you really have to be forward-looking the whole time. I think nostalgia is sort of the death knell for any artist.

[We were very lucky that Sean [ Ellis ] researched the film [Anthropoid ] for many years.] We sort of piggybacked on his knowledge, and he gave us a lot of materials, which we read. For me, the greatest resource was actually shooting the film in Prague.