It's a real comfort zone for me to feel alien.

I remember when I first started to be photographed, people couldn't understand how it was possible to go around with no eyelashes, no eyebrows. Now it's much more accepted for people not to wear eyelashes or lipstick or whatever they do, but then it was quite freaky. Um, a kind of boiled look.

It was just me, naked as underneath my clothes right now, as all of you are.

I would say, and this sounds like a rather immodest thing to say, but the truth is it's probably the most amazing thing of all, it's pretty much exactly what I thought we were going to make, what I hoped we'd make.

That whole Deep End experience of finding yourself with the dead body: you know you didn't kill it, but you know if you're found with it, you're gonna be done for it, so you have to get rid of it. And that's a really important nub of Young Adam — Joe knows for absolute certain that if someone comes around the corner, that's it. Nobody's ever going to believe what happened. So that has nothing to do with identity or sexuality, but that is a link. I'm just fascinated by it.

Alexander Trocchi was an existentialist. He was looking at an alienated artist in the post-war period. It's modern because it applies now as well.

George [Clooney] and I do have the aim one day to be in a film where we say one nice thing to each other. Hopefully one day.