What I like about their films is that you actually feel the momentum of whatever they're shooting. So, if someone's falling out a window, it gives the opportunity to show what that might feel like.

Some directors hand over portions of their movie to their head of department to the point where it's like, "I'm not going to talk to you about the costumes, but I'm going to let you talk to the expert." Rather than, "You want to talk stitching, let's talk stitching. You want to talk grade of leather? Let's."

Sean Connery wasn't the Scottish James Bond, and Daniel Craig wasn't the blue-eyed James Bond. So if I played him, I don't want to be called the black James Bond.

I wanted to be on American TV so much. I didn't park DJ'ing; I just sort of ended up becoming more of a studio guy. I had a bit more money and I could buy every little piece of equipment and drum machine that had just come out - I've got quite a collection now - and I continued to collect music.

I don't get recognised that much yet in London, but when I do I get a real sense of achievement.

There's the argument that you can relate to someone who's completely unrelatable. In the way that a director shows you his imagination on a film, then I get to show you my imagination in a big dumb character.

There's a fast-track if you can do the networking. For some personalities it works, but for mine it doesn't.