We might not know we are seeking people who best enrich our lives, but somehow on a deep subconscious level we absolutely are. Whether the bond is temporary or permanent, whether it succeeds or fails, fate is simply a configuration of choices that combine with others to shape the relationships that surround us. We cannot choose our family, but we can choose our friends, and we sometimes, before we even meet them.

Chris Martin's a good friend of mine. I'm actually Apple's godfather. He's an old friend and we've been mates for quite a few years now.

When you meet people that you know from other films - as often happens to me, and as tends to happens to you when you're an actor, you constantly meet people that you've seen in other films. But when it's people who've kind of had a seismic effect on your life, it's quite extraordinary.

Having done Spaced, I can't even remember it being that difficult on Spaced, but we know what the end's going to be like. We know why we're putting in this amount of work, or why a shot might be particularly tricky, because we know that what we do is create a whole package. It's the writing, the performances, and the style of camerawork, that's what we're working toward, and we're prepared for that.

Spoilers are cowardly. They're just people who want to anesthetize themselves against the tension and the experience that the director and the artist have set up. If you go in there knowing what's going to happen, it's like reading the last page of the book. It's just cowardly.

It's why I get miffed at all the dashing around in recent zombie films. It completely misses the point; transforms the threat to a straightforward physical danger from the zombies themselves, rather than our own inability to avoid them and these films are about us, not them. There's far more meat on the bones of the latter, far more juicy interpretation to get our teeth into. The first zombie is by comparison thin and one dimensional and ironically, it is down to all the exercise.

The revolution of video had a massive affect. We grew up in a time where suddenly you could own films. Before, they had a theatrical run, and then perhaps they'd come back, or you'd catch them in a retro cinema.