I think documentary filmmaking is a braver way to make films because it's real, and you're really there.
What's weird is that I work with these directors and then I start channeling them. I kind of turn into them a bit - which is cool when you're working with Clint Eastwood.
I hate the stereotype of the pitfalls of the child actor. There are so many amazing examples - Natalie Portman, Joseph Gordon-Levitt, Jodie Foster, Drew Barrymore - of people who have made it through.
I look at my contemporaries, and we're all at different stages and levels, and all choosing different routes, different ways to do things.
I excelled in English while I was at school.
I never had a father figure so I never missed it.
I go into meetings with some film-makers and they literally have nothing to say, they're almost bored by their own material. I'd rather work with people who are very passionate and very animated about what they want to do. People who just want to tell stories.
I love the old Fred Astaire and Gene Kelly movies; they're so beautiful to look at. It's such a shame we don't make them anymore. Although, I don't know how you could make tap dancing current and topical.
I've got lots of weird illustrations of me from Japanese fans.
I'm a hard-mouthed northeastern lad. That's me - the Eminem of Northeast England.
I sympathize with every kitchen porter.
