Contrary to popular opinion, things don't go stale particularly fast in the art world.
Anytime something starts to feel like a popularity contest or not about the music, I'd rather just not be involved. I'm not a big high-fiver. That really gets to people around me when we have a No. 1 or something big happen. I'm not a big, 'Let's go have a party about it!'
I didn't go into politics because I wanted to win a popularity contest.
I didn't come to Hollywood to get on magazine covers or start my Porsche collection or to enjoy that kind of lifestyle, to go to the right parties and meet the right people.
They make documentaries like 'Fast Food Nation.' The food our kids are eating in schools, the vending machines kids go to a lot, the portions of food that American restaurants are serving that are bigger than anywhere else in the world - it's kind of crazy.
There's something really easy and just somehow un-crowded about the Portland airport. Every time I go there I'm like, 'Why is this so easy and sweet?'
When you are portraying somebody that has a very specific emotional weight, you feel like you're really starting to abandon your own body and go to someplace else.
In New York, I am barely recognised, or people don't really care. When I go to Portugal, I go outside to a public place and am recognised constantly.
Kids go to school and college and get through, but they don't seem to really care about using their minds. School doesn't have the kind of long term positive impact that it should.
The fame is the downside. I can't think of many positive things about it - except that when I go to parties, I don't have to stand there like a lemon.
I don't buy diamonds, I don't buy cars, but I enjoy travelling. I'm not a very possessive person as far as things go.
Actors play a small part in all the things that go into the making of a movie. I want to know about pre-production, post-production, shot divisions - everything.
We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.
Financing for 'Shotgun Stories' was initiated with money from close friends and family. This is where the money to go into production came from. After production, a company called 'Upload Films' came on board and provided post-production funds and services. In both instances, people were taking a gamble on us.
I want any excuse to come home. My dad is not a spring chicken any more. If anyone says, 'Go buy a postage stamp in London,' I'll go and do it.
'Postcards' was just a way of slapping myself in the face and saying, 'You can do anything! Just go for it!'
My mum is bright, ambitious, well read, political and very bolshie: when my dad was conscripted into the Army and posted to Libya, she convinced some general to let her go with him. I don't know how she managed it.
You're on set for 15 hours, and then you go home and make sure you're posting the right stuff on social media, and then you answer your e-mails. It never stops.
Never take your makeup off before bed. Sleep in it. That way, you're all ready to go if a hot postman rings the doorbell early.
Some years ago, I was invited to speak in Houston, Texas. They said I was a founder of 'postmodern theatre'. So I said to my office, 'This is ridiculous for me to go and speak about postmodern theatre when I don't know what it means, but... they're paying me a lot of money, so I'll go.'
