"""This one is like the mystery house on Escape to the Country, it’s a curveball. The point I wanted to make with ‘2-4-6-8 Motorway’ is that it’s not one of my favourite songs, the point is it’s always been there but I only really discovered it and fell in love with it in the last couple of weeks. That’s one of the most exciting and inspiring things about making music, discovering songs that have existed your whole life, even though you may have only been semi-aware of them. “I’ve always found it much easier to place my faith in songs that have existed my whole life than a new band or a new artist, you know what they are, you know they’re not going to let you down, they’re not going to do anything sexist or say anything racist or make a terrible second EP. “It’s also so exciting discovering things, I love all those reissue labels like Light in the Attic and finding these treasure troves of records and artists that have been there your whole life, like ‘How has this existed my entire time on earth and I’ve never stumbled upon it?’ ‘2-4-6-8 Motorway’ is a stone cold classic, it’s very British, it’s a big song."""

"Unfortunately, I keep saying ones that I had something to do with. I was the stunt coordinator on that, and I actually played the cop that arrested her at the end. If I have any kind of acting ability, it’s from watching people like Charlize Theron. I was on the set every day. I didn’t have all that much to do, stuntwise — just safety issues and a couple of little stunt things — but I could watch her work, and see how she got to certain places, and that’s the best possible training I think an actor can have. [Theron did] subtle things right before certain scenes, to get to a certain place. I think, even subconsciously, I’ve incorporated some of those techniques. It’s nothing I can really describe. For the violent stuff, it doesn’t take long. It’s just very easy for me to get from my personality to the murderously violent personality. I think I’m closer to that than most people are, so it’s a short trip. [laughs] But for the emotional stuff, and crying scenes and stuff like that, what works best for me is to use music that means something to me, that reminds me of something in the past that isn’t a good memory. Something like that. That helps me to where I can convincingly cry, because I’ve seen so many actors — and these are whom I consider good actors — who are not convincing when they’re crying. It’s just not believable, it’s too forced. I think that’s obviously one of the harder things to do. Take [Hatchet series’] Danielle Harris. Most often, when you have a character who has to have a lot of emotion like that, you start out as a regular character and become that, like Tamara [Feldman] did in the first movie. Starts out normal and then becomes emotional at the end. Well, because this picked up from the very last frame of the first movie, from the very beginning, Danielle has to be crazy emotional. She lost her whole family and found them dead. So, it’s one thing to be able to get to an emotional point, but to have to do it so many times is the hard part. Lots of people can make themselves cry once, but let me see you do it ten times in one day, and some of those times being after lunch, where you’re talking to friends, and then you gotta get back to that place. It’s not that you just do it one time and they film it and you’re done. You gotta do all the coverage and make sure the emotion matches. That’s the hard part."