A lot of London's image never was. There never was a Dickensian London, or a Shakespearean London, or a swinging London.
The big thing is, it's about learning which off-speed pitches to swing at. A lot of people say, 'Oh, this guy can't hit a curveball; this guy can't hit an off-speed pitch.' But it's about swinging at the right one. Swing at the hangers. Swing at the ones you can handle.
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
I think there's a lot of trust in being selectively aggressive I guess. Looking for your pitch you can drive, but not swinging if it's not there and not worrying about, 'Oh no, I'm down 0-2.' I feel as comfortable as I do at 0-0. I don't know.
Living as an actor is rather like living life on the trapezes in a circus. Every time you jump on, you have to pray that, when the time comes for you to jump off, there is another trapeze swinging your way.
The toughest thing in hitting shouldn't be deciding when to swing. It is, for me, deciding when not to swing. You should be swinging from the time you get into the batter's box until something says don't swing.
When I was a kid, we played a jump rope game called double Dutch - where you had to jump over two ropes swinging in opposite directions. Picking just the right moment to jump in was a practiced art form.