Riz Ahmed

Sometimes when you're inside a story, it's almost better if you don't think too much about its wider cultural significance or if you don't think about how audiences might react to it. That takes you out of the reality of the situation you're committing to as you're telling the story.

It's interesting - what are you willing to give up in terms of your privacy for access to other people? For access to things you think you desperately need. Ultimately, it's that old saying, isn't it? If the service is free, then the product is you. The thing being sold is you. There's a product for sale in you and your data.

I'm used to doing U.K. indie films, like, six weeks of filming, tops.

The reality of Britain is vibrant multiculturalism, but the myth we export is an all-white world of lords and ladies. Conversely, American society is pretty segregated, but the myth it exports is of a racial melting-pot, everyone solving crimes and fighting aliens side by side.

I go to a lot of stand-up comedy. I find more inspiration from observational stuff than from rap.

My music is a very personal reflection of me, whereas, acting a role, that's a reflection of another character.

I'm not trying to project any persona. Often people don't know where to put me. I don't fit comfortably under banners, and that's fine. I'm not worried about not making sense to people. That's probably my best asset.

I like the idea of being caught between things, always being a bit of an outsider, having an outside eye on things - almost like a Shakespearean fool.

The only people who have doubts about the sincerity of my music are people who come to it relatively late, off the back of having seen me in a film. Acting is about being other people, and music is about being myself.

I have always been restless, had a lot of energy.

I'm always trying to slip out of those labels everyone tries to put round your neck. We all have multiple selves.

I don't think any of us like to be reduced to just one label.

I think that in an Internet age, content is content. As long as you can stand up on the merits of what you're doing right at that moment and aren't just relying on your success in doing something else, it's all good; people will respect you.

I think that with piracy and tighter funds being around, people are realising that the game to play is to try and win people's respect with bold film making and then win a special place in people's collections, rather than just having the biggest opening weekends.

No-one gets a job at 16 and stays in it until 60 any more; we're connected to more people simultaneously than ever before, whether online or on our phones. We wear so many different hats within one day, one week, a lifetime.

My parents, man, they're just the most loving, encouraging... They're like those people who define themselves through their role as parents before people in their own rights.

Bandwagons roll through our lives. It's up to you whether you jump on them unquestioningly or jump on them to overturn them and subvert them.

What's interesting about the U.K. is that it celebrates an alternative voice. It's up for telling new stories.

The camera or the microphone in the booth is merciless. If you don't believe what you're saying, it hears it. If you don't believe it, it sees it in your eyes, it hears it in your voice that there isn't the conviction there.

First, you have stereotypes, and that will be the black drug dealer, the east Asian kung fu master, the Middle Eastern terrorist in 'True Lies.' Then you have stuff that takes place on culturally specific terrain, that engages with it, but actually subverts assumptions. 'Smashes' stereotypes. That's where I've come into the game.