I think my films are always quite self-reflexive and always question 'why am I doing this, is this the right way to do it, what is cinema for, does it have a purpose?'
Every star, whether it's Harrison Ford or Robert De Niro, is remembered by one film. Persis is a star in the sky - how can a star be forgotten when all you have to do is look up and see her?
If you are the kind of guy who draws in 100 million people to see his film, you've got every right to be paid accordingly, but I qualify as a character actor. I don't put a bum on a seat.
But we had a fantastic coach, Simon Clifford, who runs a British football youth game which teaches Brazilian techniques - which is what we wanted to incorporate into the film. And some of those things we eventually got in.
Television cannot film corruption. Television cannot spend five days on a rattling railway train, talking endlessly. Television needs excitement, it needs an angle, it needs a 'sound bite.
I think that 'Mary Poppins' needs a subtle reader, in many respects, to grasp all its implications, and I understand that these cannot be translated in terms of the film.
I thought he was an interesting central figure, central character, one who is definitely not your typical central character figure in a film, who's easy to like. He's not easy to like. It forces you to involve yourself with what's going on.
I lose film roles because I'm a person who doesn't keep quiet about certain things. But if my heart tells me something is wrong, I'm going to go and do something about it.
You fight for certain roles, and you realise they're being filled by television and film actors, because theatre is constantly fighting for survival and they need names and faces and ticket sales.
It's the texture of New York that people miss by filming elsewhere. There are layers and layers of character - even in the pavement - that you can't get anywhere else. And the speed that the people move. It's so different from other places.
I'll tell you, I think that the Internet has provided an enormous boost to film criticism by giving people an opportunity to self publish or to find sites that are friendly.
I did a couple of films, I was very lucky at the beginning of my career... and then, I never had another job here for ten years probably and I moved to Europe.
The fashion world is much more ephemeral than the film industry and moves at a faster pace, and it's got even more frenetic since the Nineties; more paparazzi hanging about and it seems to me there are even more fashion magazines.
If people take the film and screen it whenever possible for their social and professional networks, we can continue to make a difference. It is one more element we have to use in the ongoing effort to take back our country.
People prefer doing films. That is not the case with me. I don't do theatre because I have to but because it makes me feel alive. I enjoy the whole process of rehearsing, though repetition can make it tedious.
So our films had a lot more to them than entertainment value, and I'm glad that a lot of people recognize that now. People realize now the value of them as educational.
I don't necessarily find superheroes in general, for me, that appealing. I'd much prefer to play, if I was to be cast in a superhero film, I'd prefer to play the villain because there's a reason, there's a motive behind their madness.
I think that one of my favorite movie roles has been a film that I did with Jason Statham that was out last year called 'Safe.' I played the main bad guy in that.
I did do some Shakespeare on film, it's really difficult. It's really interesting, because I was doing a series in Canada called 'Slings and Arrows' and it was about a company based around the Stratford Festival.
I grew up in Europe, and I used to like those very slow-moving European films. I've been contaminated by the American TV culture, and I just want things to move faster now.
I don't want to force my mind to love someone else or adjust with someone whom I never can give my true love. #Life Of Love - Film
