In the world of independent filmmaking, you're never quite sure what's happening when and where.
Sometimes you read a script, and you just think, 'Wow, I would love to go and tell that story, and I don't even care what happens to the film, I would just love that experience.' And often, that mentality makes a great film.
You find most of the interesting stories are the ones that are slightly harder to get made.
You just try and do as much variation and as much difference and as much as possible, so you put yourself out there to try anything, really. As long as you feel you're going to get something out of the experience, it's all worth it.
I could see when I was filming '21' that it was going to go a direction I wasn't comfortable with it going.
Come on, you can't do a film about an upside-down world and not have an upside-down kiss!
Certainly after '21' I was getting the opportunity to make a lot of money.
I didn't want the words 'Spider-Man' attached to my name in any shape or form. Especially a singing one.
After 'The Way Back,' which was so epic and so rich, it was like, 'What will I do now?'
When I was younger, I looked to actors like they were from another planet. You couldn't believe you could be anywhere near that world. It was exciting. I kind of like that.
Out of every 10 scripts I get sent, seven are fairly generic about an American guy who gets the girl and is involved in underground espionage activity.
I was quite naughty at school. I was always in the back of the class messing about with the Bunsen burner rather than paying attention.
To spend time with Ed Harris... he's an acting hero of mine, so that's a big deal for me.
There are times when I feel incredibly loved and connected, and times when I feel alone. I think that's natural for all of us.
Home is here in London and always has been.
