[on if there's anything about being a musician that prepares one for being an actor] Well, it's interesting. You know, I was able to look at a group of kids that were sitting on the stairs when I used to busk, which is play music, and I'd be able to judge whether they were French or, you know, what their nationality was. So if they were French, I would think, "Well, the Cure are huge in France, so I'll play a bunch of Cure songs." So I suppose in sort of recognizing what your audience wants, but I say that with trepidation because I'm not sure we should necessarily give the audience what they want. [laughs] You know what I mean? We live in a world where you make a film -- you spend two years in development, and then you spend six months in prep, then you shoot it for four months, and then spend another year editing it, and then you take it to a small town outside San Diego and show it to 60 teenagers, and then change your movie depending on what they say. I'm lost. Now you've lost me, because, you know, every 16-year-old boy is going to say, "I think it should be a bit more like Underworld," you know what I mean? Should we then make every film a bit more like Underworld? I'm not sure that that's a great way to go about creating new stuff.
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