It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.

If you judge everything by how photographically real it looks, then you're missing out on a lot of what art is about and what communication is. There are ambiguities in life, and that should be reflected in art, cinema, and storytelling, I think.

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.

It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.

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.

If I'd been offered 'Spider-Man,' I probably would have done it. I don't think it's bad to go and do those things.

People say, "How do you get into the British film industry?" There is no British film industry, there are just people making films and finding their own way. It's not like in the States where there are studios and there's an actual infrastructure to it; there's just nothing here. You make it from scratch a lot of the time.