It's so technical. It's nothing personal. You're not fighting really, you're missing each other by a half of foot at least, ideally more and you get a few knocks and bruises. But with the kissing, you do kiss someone. Its lips on lips.

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.

At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.

I love the grandiosity, how sweepingly entertaining films can be. And I think there's a place for films that pry more into the human condition.

My Mum taught me great manners. And she always told me that you can be or do whatever in life, as long as you don't hurt anyone and you're happy. My Mum's great; I adore her.

If you do a fifteen hour day on a film, there's a lot of time standing around but at the end of that, you want to go home to your hotel room and have a bite to eat, watch a movie and go to bed.

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.