Yeah loads of bruises and welts, usually around the hip, arse, thigh region and elbows. Elbows got knocked up big time, but it was so much fun. I hadn't done a meaty action film in seven or eight years, so it was fun to explore that aspect of storytelling again.

I know what the important things are in life. I know that just because I pretend to be someone else for two hours on the silver screen doesn't make me a better person than the next man. So, I mind all those things. Simple things.

As much as "The Lobster" feels like a world we recognize but not the world we live in, it's all drawn in an allegorical way from all the systems that exist.

You know. I'll try anything. I'll do anything. I'll explore. Try different takes. All that kind of stuff to do sometimes, to do good performances, but always conducive to having a good time creatively.

I think, as human beings, we at times overvalue the intellect and we undermine the body. I don't mean a body externally and the shape of a body. I mean the intelligence of a body, the memories that a body can store, how a body feels emotion, and how a body processes emotion.

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.

I hadn't really met Colin [Farell]. It's really weird to say: 'Oh, hello, I'm Kate...I'm Colin.. shall we?' That's a bit strange. Len was fine with it. We've gone through this experience with Scott Speedman before on the first Underworld move. It was our little version of swinging. We survived that.