As an actor, it’s hard to direct because, suddenly, you’re not around. The thing which I hate about directing is the waiting game, but you’ve really got to wait it out and be resilient and keep it going and keep everybody motivated.

The whole thing of doing a TV series, I find it very daunting not knowing where the story’s going.

I resisted the film business as long as I could, because of the big circus act and the amount of money that it costs to make films – I saw my father suffer through that.

You know, the great thing about acting or, indeed, filmmaking in general, is that we’re all given a reason to do research. You kind of have to, really, if you want to know what you’re doing, but it opens up this whole new understanding.

There’s a point where art is not subjective, and my example for that is Picasso. If you don’t like Picasso, that’s your problem.

Usually when you’re working on fight scenes, you don’t really feel what’s going on physically. It’s more when you go back home and you’re like, “My god!,” and you wear the wounds or bruises with a certain amount of pride.

Sometimes film is just the family business. Some families are generations of carpenters or farmers, or they make clothes, or they’re all lawyers. I’m in the family business.

I love playing bad. But my whole thing is usually villains that don’t know that they’re evil.

Why should I ever get fed up talking about my father? He was a brilliant, colorful man who left us with thousands of memories. Most people remember his films, but I’ve got anecdotes and advice and episodes of real life tucked away inside my head.

If one got too concerned with motivation, his eyes would kind of roll. He and John have collaborated before, so there was a good shorthand there.