David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He's someone who's into controversy, you know what I mean? That's David Mamet.

I had a huge imagination. My granddad says I was a bit of a Walter Mitty character.

I'd learned how to lie and manipulate from an early age so a combination of that, desperation, having to have my own fridge and my umbilical cord back... I had to go out into the world. Then some angel somewhere said: "Have you considered going to drama school?" And this sounded like the solution to all of my problems.

Maybe it's a little ambitious of me to presume that no matter how big the film is, that I can always go down to the shop to buy a pint of milk.

My father came from an intellectual and studious avenue as opposed to a brawler's avenue. So I had to go further afield and I brought all kinds of unscrupulous oiks back home - earless, toothless vagabonds - to teach me the arts of the old bagarre.

I wanted my dad to be proud of me, and I fell into acting because there wasn't anything else I could do, and in it I found a discipline that I wanted to keep coming back to, that I love and I learn about every day.

The Long Red Road is a story about alcoholism and dysfunction and tragic tale of a man who's trying to drink himself to death on an Indian reservation in Dakota. It was written for me, so it's something I would love to do.