I'm very superstitious about going on other people's sets. You have to ask permission of the director; you shouldn't just turn up and skulk about in the background. It's very rude. You have to ask them personally. It's like a vampire being invited into a house.

You can muscle your way to the top as long as you're part of the production, which I am. I'm knitted into the money, so it's very hard to extricate me from the decision-making dynamic.

I like that confusion when people are speaking in the same language but still can't understand each other. It's also usually my experience of being in America - when I speak no one can understand what I'm saying.

I tend to shoot really quick so you don't get the problems you might get on a traditional film where you shoot one way, then another, and it's pissing down with rain and they won't cut together. We shoot so fast we can incorporate the weather into it. The worst weather we had was when they were in the caravan up the mountain and there was no cover. One man's weather is another man's production value. To create the sleet would cost a fortune but we got it for free so we'll just have to go with it.

Doctor Who is pretty dark, I think. Generally its dark; its always been dark.

The things that inspire people to think are what keeps a film alive.

Sometimes my scripts get so dissolved, and they're so different from when I wrote them originally, that I find it hard to find what I wrote in it.