I think if it's interesting, it's interesting, and if it's not, it's not working.

That's just how I see things on a base level: there's so much going on. Or at least I like to have that feeling. It's part of being interested in notions of reality apart from storytelling. I don't know if it has something to do with having an art school education, which makes you aware of the way visuals speak, or makes you trust them more.

I have to admit that I had a lot of problems with poetry.

I took four years off after 'In the Cut' because I wanted to see who I'd be without work. I even tried being a hermit in the wilderness in New Zealand. I stayed in a warden's hut two-and-a-half hours off the Routeburn Track through the fjords on the South Island. It was early winter, so there was no electricity or running water.

Actual violence has no attraction for me at all.

So many actors are not open in front of the camera - they have a persona.

If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.