So the mask was just really easy, I've got to be honest. And it was great actually because it really allowed you to get into the character a little bit more maybe than without it, if that makes sense.
The main thing about the character [in the Ordinary World] is that he loves music, and he shares it with his daughter. He's having a mid-life moment, and it's a small moment, really. I think that the character actually really loves where he's at, in his life. He's just trying to have it make a little bit more sense while he figures out what he actually wants to do with it.
When I'm writing obviously I have all the nostalgia in the world, I have all the emotion in the world, but then when I actually perform, I need to just perform it, and that's it. I do retain like a little bit of it because I have to, I sing and perform the songs so I have to - it's a performance of the songs - but I just have to get the right balance.
You get the sense that [John] Hughes is so right about the way groups divide and then divide again and then sometimes align and then sometimes break apart. And this idea that Michael Hall's character says, "On Monday, are we going to be friends?" you know, based on this.
So actually what that was able to do was twofold. For me, it helps illustrate what DTS is capable of doing right from the beginning. And secondly, technically, it actually gave us a little bit more time so we could just finesse some effects and things like that, because when you release theatrical, you actually get a bigger window than if you're DVD when you have to have it done sooner so they can press the DVDs and all that kind of stuff.
Think about 'GoodFellas': It could be a textbook on how not to write a screenplay. It leans on voice-over at the beginning, then abandons it for a while, then the character just talks right into the camera at the end. That structure is so unusual that you don't have any sense of what's going to happen next.
It took me a long time to film the plastic bag, and then I had to get the cut of the scene right. But if you find it as beautiful as the character does, then suddenly it becomes a different movie, and so did he as a character.
If you try to go for a big two-hour nap, you get groggy. You wanna just nap, like close your eyes a little bit and then just fall asleep for a little bit and then get up. Then be like, "okay, I'm up."
I get bored of music really easily, so I always try and make music that makes sense, but then it's just a little bit wrong.
There was a time when people were like, 'Oh my God, Sheamus' character is boring.' Well, when you're just in wrestling matches all the time, and you're not doing character stuff, then it can be a bit monotonous.
My mum used to tell me when I was a kid that I had to go to bed at 7.30 P.M., and when I'd ask why, she'd say, 'Well, you do get a bit grumpy when you don't have routines'. Then I realised, when I was a bit older, that's actually true.
I do get a bit of a sense, just from e-mails some people send me, just a little sense of how people in different countries seem to respond differently to certain lines in a song.
Character, character, character. First, second and third ... we were pretty rusty initially. When you have a break for a few weeks you get a bit of rust.
I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.
We brainstorm an idea and then we do flesh it out a little bit - we come up with a script, mostly to have beats and a sense of a story and a narrative arc. Often when we get into the space and onto the location, that changes and something we discover in the moment becomes the moment, becomes the story, becomes the character.
The safari was amazing, to actually see the elephants and the Lions up close and then right at the end to actually get in the cage with the Lion was one of the best moments of the tour.