I don't concentrate on if a moment is scary or not. That's not my job.

I think you have to pick and choose what is most important to tell the story.

When I went to LA I was almost 30, I'd been nominated for two Tony awards, and on the New York theatre scene I was pretty well known. I went out to LA to meet with casting people, and I remember walking into one meeting and saying: "Hey, how are you? I'm Patrick..." And they said: "I'm so sorry! I thought you were British!" When I asked why, she replied: "Because you're 30 and I've never heard of you!"

You never want to judge your character.

You have your vision and you need to be focused, but you have to listen. I never felt a sense that the wheels were going to come off because we're all friends and family. It was all good.

I've always had good relationships with directors. I'm one of those people where, if there's a good idea coming from the sound guy, I'll take it. Filmmaking is a collaborative effort, whether it's a first-time director or it's Mike Nichols. I think that's the standard that the great ones set.

I think your teenage years define your musical roots forever. You're always looking for a theme for your high school years.