I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.

This is the great luxury of not working: the moment you read a book that has nothing to do with work, you know you're really relaxed. And I have a sh*t attention span. I can't concentrate for more than five minutes.

In England we have this saying about Marmite: people either love it or hate it. That's like a lot of the movie work I've done. People either find it repulsive or find it really interesting and get engaged in it.

I have this horrific thing where I'm really bad with names and faces. I have an appalling memory. Someone will come up to me in the street and go, 'Eddie!', and I'll try and give myself time by going into overdrive, 'Hey, hi! Nice to see you!' and start a whole conversation because I can't distinguish between who I know and who I don't.

Actors who perhaps are super-confident and have absolute belief in themselves I always admire, because I can't really be like that.

Everything about filmmaking is incredibly weird, and there's nothing natural about watching yourself on the big screen or hearing your voice. It's that same thing that you feel when you watch yourself on a video camera and you hate the sound of your voice - it's that times 800.

I'm quite ignorant about fashion and I'm colourblind, so it's all a tad tricky. My only knowledge of that world comes through Christopher Bailey, whom I first met in 2008 when I did a campaign for Burberry that featured musicians, artists, actors and sportsmen.