Very often when you see families it's all perfect and neat, and parenting isn't like that. You do have constant negotiations. Things are ever developing and ever changing, and you constantly have to evaluate how you deal with your kids.
If you explode onto the scene at a very young age, there are so many people pulling you in different directions. It takes time to recalibrate and see what's important.
After writing a page, Hemingway would let it float to the ground. He never crumpled pages - he believed that if you crumpled them, you'd be insane in a year.
I guess I'm not that metrosexual. My bathroom cabinet is hardly overflowing with products. I only really have my stuff for shaving. I can't honestly say I moisturise, though I probably should.
The idea of goodies and baddies has always fascinated me, and what people consider to be a goodie or a baddie, because I've never seen any of my characters as baddies.
A huge part of acting in movies is appetite. You do your best work when you've got a lot of appetite and you really want to embrace something. When you get tired, you don't have that hunger.
I think I am more attracted to characters with a subtext, whatever that is and they don't necessarily have to be virtuous, but they have to at least be human.
I have a problem with a lot of men's fragrances because they are very strong. Somebody somewhere thinks that masculine means powerful smells, and I find them overbearing and not very pleasant.
As a teenager I was crazy about David Bowie. He was a huge inspiration for me. I dressed a little bit crazily in school and dyed my hair every colour under the sun.
I actually really love working with young actors because they're so responsive and instinctive, and it's a much less honed craft that they're employing.
The thing about Hemingway that people forget is that all the stuff he did was at a time where people weren't traveling that much. At 19 he travels to Italy. He goes to the Spanish Civil War. He goes to China, he goes to Africa so at that time to travel that much is really incredible.
I've done a number of things based on real people or true stories or based on books, and I'm a great believer that you have to be true to the script.
I'm sort of one of those weird actors who whenever I do a play, I think, 'Oh, we should film this,' as opposed to have to belt it out of ourselves in a theater auditorium.
I had to ride a horse once. In 'King Arthur.' I said I could ride, but I had to call for lessons on the day the deal was signed. I started out on this little chunky thing and slowly moved up. It was months of work.
You go back to those films of the '40s and '50s and hear the dialogue, the way the people played off each other - the wordplay. I think we've really lost that in movies.
I don't do facials or any of that stuff, but my workout regime does tend to depend on whether I have to take my top off in my next film because otherwise I know I'm too heavy.
I don't like it when people are trying too hard. That goes for clothes, for acting, for everything. It's just not good when it seems like you're making too much of an effort.
If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.
There's something to play if there's conflict going on. Whatever that conflict is, that's where drama is; if the character is grappling with something you've got something to play, there's layers to it.