Obviously, a long-distance relationship is hard. But, like anything worth having, you make it work.

I love the comic opportunities that come up in the context of a father-son relationship.

With the CGI, suddenly there's a thousand enemies instead of six - the army goes off into the horizon. You don't need that. The audience loses its relationship with the threat on the screen. That's something that's consistently happening and it makes these movies like video games and that's a soulless enterprise. It's all kinetics without emotion.

I feel there's a power in theatre, but it's an indirect power. It's like the relationship of the sleeper to the unconscious. You discover things you can't afford to countenance in waking life. You can forget them, remember them a day later or not have any idea what they are about.

I've discovered just how symbiotic the relationship is between writers, directors and actors. They ask the same questions and strip down texts in exactly the same way.