'300' was a real turning point in my career. Until then, I felt like a steam train that was slowly chugging to the top of a hill. Now I'm over that hill, my career seems to have its own momentum.

9/11 was basically caused by box cutters, and that changed the world.

I went from somebody who didn’t sing to somebody who didn’t speak.

The Scots will do anything to beat the English or just to see them lose, but I’ve never bought into that really.

Generally I don’t like doing remakes, but I think that’s more in the cynical world of Hollywood where normally remakes are purely for commercial reasons.

I had to go and sing with the musical director of the film, Simon Lee, who is just incredible, and it went great. I sang with him about five things, things we’d worked on. And then I went to sing for Andrew Lloyd Weber.

I love to do films of all shapes and sizes and feelings and genres. So for me to go from Tomb Raider straight into Dear Frankie, there’s nothing that excites me more than to keep mixing it up.

When I went to Scotland to do another movie, I would sing with a coach up there and then when I went to New York I sang with a coach over there-I mean I’ve now sung with coaches in LA, New York, London, Glasgow, St Louis and Rio de Janeiro!

In Scotland I’m just like a lot of other guys, but in America I’m seen as a very strong, masculine guy.

I have a level of fear going into every project, and that’s what keeps me going.