When I am asked about influences, I always say I bow down to Fred Astaire, because when you look at him dancing you never look at his extremities, do you? You look at his centre. What you never see is the hours of work that went into the routines, you just see the breathtaking spirit and freedom.
I've learned, having been on a lot of sets, the good news is that by definition you are surrounded by experts. They get fired if they're not - unlike in the theatre!
In theater, you've got to be aware of your whole body because it involves stamina. It involves two-and-a-half hours and a sustained release of energy, maybe for six months.
I think the thing about film is, as it gets proved by a lot of young filmmakers now, that the medium will just go on reinventing itself, and so you just hope to be a part of that and not a part of some kind of endless regurgitation or 'Here I am doing what you know I do' kind of thing.
I was coming from a very cerebral, dark, difficult, layered play by Christopher Hampton and doing an action movie in Hollywood (Die Hard) with explosions, and I was holding a gun.