I actually find in America, there's a slight snobbery about actors who go back and forth between big heavy dramas and popcorn fare. That always intrigues me, because that doesn't exist in the same way in Britain. And I imagine it would be worse. In terms of the sort of class, and the sort of snobby, slightly on the back-foot thing Britain has. But it's much more prevalent in America. I'm really intrigued by it. I don't know why that is. But I'm aiming to break down those barriers by being in a Shakespeare film and a Smurfs film within six months of each other.
I had to be a grown-up when I should have been a little boy, and now that I'm a grown-up my little-boyness has exploded out of me. I've lived my life backwards.
Nowadays people don't know how to handle it if all the ends aren't tied up and they're not told what to think in films. And if they're challenged, they think it's something wrong with the film.
I think directing in a team is a really good idea because it stops the cult of the director as God straight away, and also you're discussing things on set so it opens it out to everyone and it becomes a totally collaborative thing. And you have someone who supports you when you're feeling a bit insecure.
Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
For example, Americans seem reluctant to take on Shakespeare because you don't think you're very good at it - which is rubbish. You're missing out here.
It's about how you exist as a person in the world, and the idea that your work is more important than you as a person is a horrible, horrible message. I always think about a little gay boy in Wisconsin or a little lesbian in Arkansas seeing someone like me, and if I cannot be open in my life, how on earth can they?