There are so many interpretations that this film [The Lobster] could be approached from. But Yorgos [Lanthimos] is so specifically minded, he's so clinical in his direction of the film.

Magic is at the core of myths.

It doesn't matter if it's a drama or a comedy, the need to get the emotion and the character arc across is way harder in something like this so was more of a preparation.

On "[Total] Recall" also [sets were extraordinary], but this was next-level. They built two or three blocks of midtown Manhattan in 1926 and it was inhabited with 400 extras and 24 Model Ts and a train system and all that kind of nonsense. It was madness. You would walk into shops and they would have the goods from that period, it was just huge.

One of the great things about the film being so unusual and provocative is the filmmaker to me doesn't seem to have a definite opinion on the rights or wrongs or the immorality of behaviors and systems, he just presents a set of very unusual circumstances and asked the audience to partake in the judging of what feels right or wrong or what feels natural and unnatural.

I count 'Underworld 4' as my training period for 'Total Recall.' I do think it was hard because I didn't realize how tired I was. It is quite a lot to sustain that kind of physical work over nine months altogether and by the end of it, I definitely felt like I had aged quite a bit in that year.

I didn't work with any of the beasts [ "Fantastic Beasts"], I didn't have much green screen, but I loved working on it. I'm excited to see it myself.