Yorgos Lanthimos said, "What about if he's a bit soft?" And I said, "Yeah, I think you're right." He just comfort-eats a little bit too much. He's just asleep in his own life and has let himself go. And the mustache, I don't know if it was him or I suggested it. But I remember my sister was watching me eat and she was like, "God, does he have to be fat?" And in retrospect I couldn't think of David being any other way because it affected the way I moved. It really did. It slowed me down in a way that I felt was conducive to kind of tapping into the spirit of the character.

Her Majesty's Secret Service wouldn't have me on the payroll.

Making a film, you're in a really dark tunnel and the only kind of illumination is the shared experience you're having with your fellow cast and director.

The sea always offers up incredible stories of survivors' fortitude. Myths of a lot of countries have variations on that.

It as an argument between the world of emotion versus the world of the intellect. It's the idea that you can suppress a person's mind and a person's experiences, mentally, psychologically and intellectually, but you can't completely quiet them to the point of dormancy and the emotionally life a person. You still have the heart and what the heart remembers and what the heart experiences. And even that isn't important that that comes across.

When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing.

I'm not going to experience the reality of hardship that sometimes my characters live in. I'm very cautious about that.