It's weird, because usually if you're British and you go to America you play baddies; but I play naughty people here and goodies in America.

I remember coming on my first set and it being a playground of things I wanted to ask questions about: cameras and lenses and what the lenses do, what's the focus puller doing and how does that work? Why is there less margin for error when there's less light? I was always asking questions and watching directors closely.

In America, they shoot budgets and schedules, and they don't shoot films any more. There's more opportunity in Europe to make films that at least have a purity of intent.

I never really took into account the number of homeless families. As a kid, we used to feed the hungry at my church every other Saturday, and one day this kid from my school was there. Somewhere between that moment of realization and appreciation for what my Dad sacrificed for us to have, and me becoming "Anthony Mackie" I lost it. This movie [Shelter] really made me realize that, and it was very humbling and very sickening to see that within myself.

I have no interest in movies that take you somewhere dark and leave you there, for no reason.

I simply don't understand the refugee crisis. The history of humanity can be told through a story of migration and settlement. If I can't protect my family, I'm coming to where you are; I'm just coming. It's a round world, and we've all got to get on with it and move on.

But I feel truly wowed by the architecture and the meaning of the architecture if you get lost in it and think about the man hours in the smallest little chapel, and the love involved. God its fantastic.