I kind of like the challenge of jumping into totally different spaces and styles and figuring out how to fit in.
There's nothing like being on a massive-budget film where you don't know anything, and there's a million people, and no one's communicating.
I packed coffee once when I lived in Australia, and I just remember going around every day with coffee up my nose and in my ears.
I guess I judge my films by how pleased I am with the work I do, so it's kind of on another level. If they do well at the box office, then that's great. Then I'm really pleased about that too.
If the script grabs me and appeals to me, I'm really very keen to work on it.
A lot of people have a fear of Shakespeare. Even actors do. People are like, "Oh, I won't go and see Shakespeare because the language is so hard," but it is. When you read it on the page, you go, "What?! What does that mean?!" If you go to a Shakespeare play and you've never been, you sit there and go, "I'm an idiot! I don't get it!"
I certainly don't advocate terrorism as a way of progressing and understanding people, nor do I believe labeling everything as a terrorist act is helpful either.
I think I'm a bit of a dreamer. I don't like the reality of life to impinge much on my life.
Film sets are constantly amusing because you really are creating something that is so very surreal, and I kind of like that.
I didn't get my licence because I wasn't allowed to. But I haven't had a seizure for a long time so I could, theoretically, get my licence. But I'm now just so used to not driving, I'm scared of what I'd do.
Both my parents are English and I was born in West Africa, and I moved around as a kid, lived in Bristol, lived in Buckinghamshire and Surrey as a kid, and then moved when I was 16.
If a film isn't really talking about who we are and what our psychologies are, then we're probably not that interested in it, actually.
I still, by and large, make low-budget Australian films.
I think often in film we limit our imaginations a little - well, quite a lot, actually things get quite formulaic.
I think any role you need to play not so much transforms but I like to think of it as understanding the psychology of another character.
Across the board, Australian films need to have a lot more money spent on selling them.
I used to have two double espressos a day. I gave that up, had headaches for five days but now I'm feeling great.
I'm so used to Australian films not getting a release outside Australia.
When you're battling against the minds of the studios and the money that can go into promoting larger budget films, it's very hard for a very small-budget Australian film to get a look in. You can get critically acclaimed and go to various film festivals around the world, but that doesn't necessarily mean the majority of people are going to hear about it.
The biggest challenge for me, as an actor, is to be informed, prepared and focused, at the same time. I had to just keep on working, prepping, reading and imagining, all the way through, but the biggest challenge is always to let go of all that and just be open to others. That's what we do, as actor. We play with each other and we stimulate each other, and we have to be prepared to be stimulated by the other. That's always my big challenge.
