The producers had seen "In a World..." and that's where they found me out and consequently sought me out for this role [in Man up].

When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.

I always tried to make people laugh. I attribute that to - I come from a family of divorce. It was a way to distract myself from stuff. I always thought it was interesting that my brother and I existed in this really tight bond, and we would just take the piss out of pretty much everything. I knew I wanted to be an actor so it would be great if I could make people laugh while I was doing this, because I could be other characters and other people, and I could hide behind things. It was a great out for me, and a mode of expression.

Filmmaking is a huge privilege; it's not brain surgery. It's art, and art is supposed to be an enjoyable process, and it is an enjoyable experience for me.

I feel tremendously lucky that I am offered incredible jobs all the time to direct, but the problem that I have just personally is that there are only so many years in my life to dedicate to certain projects.

When I'm tired of taking on too much responsibility as a director I then look for an acting gig.

I worked with an amazing dialect coach named Jill McCullough. We did Skype sessions while I was shooting "No Escape" in Thailand, actually. So three times a week I would have long, two-hour sessions with her just working on the nuance of the accent, which I had had a huge background in because I went to drama school in England for four years.