The funny thing is, because I was doing a lot of theater when I was a kid, and a lot of that was musical theater, as I got older I became more interested in acting as a separate entity and music as a separate entity, like songwriting and production and recording and playing music.

I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.

I'm far more comfortable in my 40s than I ever was.

I had to put the word out to people that I didn't cost a fortune, and I was prepared to work at home. Because that's the assumption: "Well, he lives in America now, we can't afford him, we won't bother."

You never really know what the director has got in his mind as far as the scene visually and art direction wise, etc. Even if you do, sometimes there's a side of things that don't necessarily gel the way people intend. So there a bit of a mystical entity, film.

You can have a great time on a film and the chemistry can seem great but then you look at the finished film and it just doesn't quite gel, something doesn't quite work.

I have a real love of sound and the shape of the sound. I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff.