I started coming to L.A. as often as I could, for three months on and three months off, because immigration kicks you out after 90 days.

I was always realistic about the fact I wanted to be involved with big films.

I love that about filmmaking - seeing final product and getting to see everyone else that you don't necessarily engage with on set every day and getting them to showcase their talents. Whether it's effects, music, the edit, the rhythm of a film is driven by that, so it's cool to see it come together. It's great to be standing in front of something you're genuinely proud of.

I had this alter ego where I would go to the theater with mom. I wasn't embarrassed by it; it was separate for me.

I was a bit of a show-off in school and loved playing dress-up, and my passion for it just grew as I got older.

I was too young to be an avid enthusiast for the franchise, but like billions of people I remember as a child sitting around with the family on a Friday night with pizza and popcorn and a 'Die Hard' movie on.

And as you got older, the training became more developed and precise. We did plays, we had voice classes with great dialect coaches. But I was never into it on a school level; it was this kind of private little thing I did. At school I was a rugby guy. At school I was a rugby guy. I was causing trouble with my mates and skating and tagging buildings, and smoking bongs.