I think my stubbornness, hardheadedness and stupidity is what has allowed me to play for 20 years.
I think of myself as unconventional, I guess. I maybe always had a problem with authority, like a stubbornness about what's expected - despite wanting to get some recognition through performing - but also not always wanting to do the expected thing.
Berkeley had a liberal element in the student body who tended to be quite active. I think that's in general a feature of intellectually active places.
I think my mom and dad both wanted to get across to me that... I obviously grew up with great privilege and was very lucky and was able to afford college and not have student loans, and they would pay for college, but beyond that, it would be up to me to make a living.
I think you get in trouble if you make experimental big studio films.
I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.
I guess in the independent market, I'd be getting offers, but in terms of big studio films, I still have to audition. I don't think my name is that well-known, I don't have much of a following to guarantee box office success yet.
I went to L.A., and I was on two different studio movies at Fox and Sony, but they were never made in the end. When the second one wasn't happening, I ended up doing an episode of 'Who Do You Think You Are?' for the BBC, and went on a roots trip from England to Kenya, India, and pre-partition India in Pakistan, where my family originally came from.
A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it. And then, there are notes and you change it, in the conventional studio system.
I'll still make movies for studios, but my editing process will be much further removed from the studio system. Because I don't understand it. I don't understand the whole testing-numbers thing. It is not how I want to make movies. So if that's how they do it, then I don't think I want to do it.
I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
I think of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.
I think that I learned a studio system prefers a sort of professionalism from the director.
I've done a few celebrity-related things, and I think on the first one - about Mick Jagger - I got stung and was not able to make the film I wanted to make.
My belief is that guns are too easy to get in America. My belief is that the NRA has bought much of our congress, to the point that guns are actually the only unregulated consumer product in America. Think about that. It's stunning.
I think sensitive is the wrong description of me. I'm British, actually, so quite bad at expressing myself in conversation, as any ex-girlfriend will tell you. I'm probably emotionally stunted.
I don't think there are really enough meetings in Britain for our athletes to compete properly, and because of this a lot of the talent we have has been stunted.
I think people feel completely stunted without an agent, but there's a lot of auditions to be had without one and a lot to be learned before you take an agent on.
I try to do as many stunts as they'll let me do. I think it's important for an audience to feel that the actor's really doing it.
I don't want people confusing what it is that I'm about. I just stand there and sing. And I don't do stunts or anything. if I wanted to do all that, I don't think I'd get away with it.
