That’s an incredible piece of filmmaking, too. I think it’s made with non-actors, kids that are not actors, which should be a disaster, and it’s absolutely like searingly brilliant. It’s about kids growing up in poverty finding their way through and their friendships. It’s just a blinding piece of film.

One of my eternal favorites is A Woman Under the Influence. That’s kind of the center of everything for me. It’s such beautiful, simple filmmaking. I first saw it about 10 years ago, maybe. It just really struck something in me that I thought, “My god, that just looks like such a great acting piece.”

Honey Boy, for me, was another sort of moment of like, “F—k!”. I came out of the cinema, I was like that was just… everything about that film was gorgeous.

It just moves me so much, the relationship between the boys and sort of beautiful bleak countryside and that nugget of joy that they found. I loved it, I loved it.

[I saw it] when I was kind of getting into working as an actor in that beautiful moment of British cinema; I just think it was the peak of what we did really well here, with low budgets and sort of dynamic, ferocious films.