I have a dirty mouth sometimes, and I'm very liberal, and that doesn't always go down well in the film industry - especially when you've got to appeal to mums and daughters.
You have a schedule that you really have to stick to with TV and make sure that you are producing enough film for the network to edit through and air quickly.
In voiceover, all you have to worry about is your voice and practicing with your voice and then being able to understand what the situation and whatnot is happening. And you have endless amounts of film to perfect the character.
Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever…it remembers little things, long after you have forgotten everything.
Reading is a heady thing. You can be into the action of someone's thoughts and take a whole trip down someone's ruminations while seconds tick by in the world that they're in, but you can't really do that in film.
Suddenly, the screens were dominated by American entertainment to the extent of something like 95 percent. As a result, audiences turned away from the kinds of films that we used to make.
My fascination with letting images repeat and repeat - or in film's case 'run on' - manifests my belief that we spend much of our lives seeing without observing.
In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.
I think I make films to help bolster and feed the part of me that wants to remain in a positive relationship with the world and to engage in it. So hopefully in non-sentimental ways, I'm trying to make something that helps make me happy.
I would have liked to come back in '300'; they did an origins film of '300' just recently, and it would have been fun to come back and see what happened to my character.
You need supporting actors to help to tell the story. For me, I'm lucky to be a part of the films. Being an actor, I'll take any role, whether it's supporting or leading.
Maybe because I come from choreography, I've always felt that there's something about action films that made it very natural for me to go that way. It's story through movement.
Any film I've made, I've only really begun to understand in the cutting room. That's when the story shows itself to you, like a wreck coming out of the sea.
I said I did not know enough about UNICEF to handle a press conference and she said they would not want to talk about it they would only want to talk about films.
England is strictly class-based. What's surprising is how many films are still made with a load of people in silly frocks running around gardens and talking in middle-class accents.
It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.
And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.
If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.
The reality is that I always envisioned the 'Riddick' franchise as a continuing mythology, so I always imagined that there would be many other films to follow.
I approach 'Fast & Furious 6' the same way I would approach a Sidney Lumet film. Getting into character's getting into character.
I used to write bits and pieces of comedy material for various comics that were at the Windmill... as well as my film job, I was under contract, I was allowed to do that and everything.
