I don't storyboard. I guess it dates back to my days in live television, where there was no possibility of storyboarding and everything was shot right on the spot - on the air, as we say - at the moment we were transmitting. I prefer to be open to what the actors do, how they interact to the given situation.

I think there's a quality of passion to the American actor. I'm certainly attracted to it, and I like to hope that underscoring it is a characteristic of my work. That quality is certainly also present in some British actors, but I tend to feel the mechanical and intellectual process is dominant in the British.

I believe, and this is perhaps too nationalistic a view, that the American style of acting puts actors quickly in touch with each other, so that their continuous presence in a company, as in England, is not absolutely necessary.

400 Blows' was so much like my own childhood, it really stunned me.

When in doubt, I choose love above any particular ideas offered to me about faith.

My hand still shakes when I sign autographs. I still go and sit in the movies like everyone else and look up there and go 'God! Movie stars! Wow!' And I'm in this business. I walk out there just fascinated, and I always want to stay like that. I'm just a little kid going to these movies, and I don't ever want to change.

No one can travel your own road for you; you must travel it for yourself. My faith in this stems from my childhood. I grew up in a family with a system of religious beliefs handed down to me.

It's about important things such as having faith, pursuing your dreams and goals. My music is about drive.