I would say the youth systems in Germany have impressed me the most and how they grow their youth players into full professionals.

I was always, you know, a decent player growing up. And yes, I was born with a certain amount of so-called 'natural ability.' But I also worked and sacrificed a lot to try to maximize what I was born with - which I think is important to point out.

I played with the youth national team, I played in some CONCACAF games, and it's always physical; it's always intense.

I was always very small, so growing up, I was always getting kicked around. It was something I kind of grew up with.

Die a Happy Man' was one of those that, when I wrote it and sent it to my label, their response was, 'This is a career record.' I was like, 'Why do you think that?' I think the stars aligned.

I have always been an advocate and was, in my last job at M&S, a supporter of the Al Gore dictum that a sustainable business can be a profitable business. We were the first sizeable company in the U.K. to prove that was the case.

I've never cared for the idea of a career path, or where a film might 'take me.' My love is for acting not money, so I only take on roles that I find challenging, in stories I find interesting.

The record industry is still pissed off that other people are making money off their business, even if it promotes their products and increases their sales. I think they're still mad about radio.