There [in Allied] was depicting London in the war, as well, and doing that in a way where you see something that you don't normally see, which is how hedonistic it was. In reality, that's what was going on. But, all of it worked.

It felt [at the Allied set] like, "At last, I'm in Hollywood," even though I was in West London. It was like, "This is how a film should be made." It was beautiful.

I'm very bad at watching anything. I'm bad at going to theaters; I can't watch my own stuff; I watch a lot of sports.

There's something about the evolution of television where it evolved from to the things that we're now watching and loving. It evolved from film writers, film actors, and I think gradually people are easing themselves into the amount of time they have.

In other words, when you have someone [like Ridley Scott] with that authority, then you tend to be left alone. But they were good and they're really good people, and I'm a big champion of the BBC and I think that like minds find each other and I think that FX and BBC is a perfect match.

What I wanted to do [in Allied] was get two characters who fall in love for real, across the barricade, and then it transcends the war.

I visited the set [of Allied] a few times, and it was a great set to visit. A lot of it was in West London, in an old Gillette factory. You'd go into the factory through the security, and then there were a lot of camels and goats. Most sets are really dull, but this was fantastic.