London is a city of ghosts; you feel them here. Not just of people, but eras. The ghost of empire, or the blitz, the plague, the smoky ghost of the Great Fire that gave us Christopher Wren's churches and ushered in the Georgian city.
I'll never be Jennifer Lawrence or Tom Cruise, someone who can hold a movie and then be charming and charismatic doing promotion. I haven't got what they've got. But at least I'm now comfortable just being myself.
I can't imagine David Lean justifying why he went to the desert to shoot 'Lawrence of Arabia.'
Sometimes you have to put a wrench in the gears to get people to listen.
The motif of Beat Generation is basically misunderstood, a misinterpreted area. There's this superimposition of the idea of a social rebellion, which was the communist interpretation through Lawrence Lipton.
I have fond memories of my kabaddi exploits at Lawrence School. I also enjoyed tennis and swimming.
I worked with Lawrence Olivier some years ago. He was a great mentor.
Arthur Russell is very important to me on many levels, and when I read Tim Lawrence's biography on him, 'Hold on to Your Dreams,' one of the things I took away was: first thought, best thought. I live by that when I make my own music.
My first toy was an adjustable wrench I called 'my wrencher.'
Picking from previous works I've watched, I really liked Jennifer Lawrence's 'Silver Linings Playbook.' It made me want to play that kind of role some day.
