I was lucky, I had support from Mum and Dad - they said as long as you work hard, anything is possible. I never thought past those two things - that I liked living in imaginary worlds and that it is possible to do that for a living.

I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.

I hope I'm always lucky enough to be able to work in theater, TV, and big films and small films. I think there's advantages and disadvantages to all of them. The fact that this was a small film without much money and without much time made it rich in energy and momentum and drive when we were actually making it 'cause that's all you've got. You've just got the story and the people.

Tone is always such an important thing, and that's achieved through a multitude of people. It comes through the writing, it comes through the way it's shot, and it comes through the production design and the sound design.

None of us really know where we're going.

It's a real testament to the amount of skill and talent involved, across the board, whether it's the production design, the construction, the costume design, the other actors, the way it's shot, the directors we had on it, or obviously John's writing. When things do go well, it sometimes seems easy, in a weird way, but it's actually down to a lot of cogs working in a big machine. But, I'm certainly happy to be going back. I'm excited to carry on.

The different variables involved in anything creative, really, are massive. When it comes together, it just clicks, I suppose.