Suits change a lot - the wide lapel thing, the fashion trends, the trousers change.
A lot of the TV shows, they do long hours, and they do a lot of days, and you don't get a lot of time. But the good thing is, if you get one that's made in L.A., or made in a place you want to be, you get to go home every night.
I love Tony Jaa. He's one of the best and most capable martial arts stuntmen in the world.
I'm not a method actor; I hope you know that!
London and L.A. are two opposites - I like the difference.
Depending on the season, you'll find me outdoors doing an activity.
People like to pigeonhole you.
Working with Sylvester Stallone is beyond a 'pinch yourself' moment. I remember growing up watching his films.
You can't be pretentious about what we do, because at the end of the day, movies are about entertainment, and if people get 10 dollars' worth, then that's okay.
I'm naturally a protective person to those close to me.
I used to play a lot of racket sports, tennis and squash.
As an actor, you work to the script: that's our main priority. But you have to be aware and look around for things that help you bring that little bit extra, that touch of realism that rams the point home.
I've been unfortunate enough to be working, and recovering from a few injuries now and again.
In my misspent youth, I was risky.
I really enjoyed working with Guy Ritchie. One, it gave me a career, and two, they're probably a couple of the best films I've ever done.
I think of Paul Feig as the Scorsese of comedy. He's the best at what he does. I think people just trust everything that he's got to say.
Scorsese will only work with brilliant material. And everyone wants to work with him.
In L.A., it's very hard to have some kind of conscience of some style out there. The weather's too hot; there's no seasons.
The oil sequence was about two or three days. It was very cold and was snowing.
Some comedies, they want you falling on your face and doing silly things.