You want to know if anyone's going to go see your film. You shouldn't worry about it or get hung up on it. So yea, you kind of monitor it.

I'm sure everyone feels this way, but it's hard to have a proper opinion of yourself or how things are or how you expected them to be or how far removed they are from how you expect them to be. On the one hand, you're extraordinarily grateful and terribly excited, but on the other, I stop and go, "I wonder what the future does hold."

The drummer is definitely the hidden hero of a band they really hold the music together. It's actually a really difficult job, and as I said before they're very much hidden, they're not the celebrity, they're not the front man so they get the best of both worlds really

Grief jumps out at you when you're least expecting it.

I would love an old classic car, or something like that. I'd get something much more subtle than any of those cars. The Lamborghinis were unbelievable to drive and to sit in and to film in. I loved the sensation because I love driving, so I appreciate them for what they are. But, I couldn't go into a showroom and buy something of that expense.

There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.

I think you grow up wanting to be a racing driver. Then it dawns on you that it's not going to happen.