Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.
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.
You do get really exhausted doing films. You work such long hours, and after a while, things can get out of perspective, just like if anyone's tired, things get on top of them.
Finally, the scariest thing about abuse of any shape or form, is, in my opinion, not the abuse itself, but that if it continues it can begin to feel commonplace and eventually acceptable.
It's exciting to be with really, really good people. Some people make you feel like you've got to up your game. Working with good people is always good.
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.
It's interesting, for me sappy means sentimental and something that gets you in your heart, gets you emotional. That's what I mean. Also, of course, it means that I'm slightly setting up the audience that there's a bit of fun involved, as well.
My feeling about work is it's much more about the experience of doing it than the end product. Sometimes things that are really great and make lots of money are miserable to make, and vice versa.
Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.