On the other hand [making a string of one-off episodes], there's a real freedom, because you're kind of reinventing the show every week.

I would say the thing you can still see in Black Mirror is that I was probably traumatized by the specter of nuclear war. I was born in 1971, and in the '80s I came to understand that I was inevitably going to be frazzled to death in the nuclear apocalypse.

What is useful about when there is a sort of pull-out to reveal moment going on is that it actually focuses the mind when you're writing the earlier scenes because you're thinking 'right, how do I? I can only show this amount of the room... I can only show these characters from the waist up because they've all got robot legs!' it's a challenge so it keeps you engaged on some level.

I'm quite geeky and I'm very much into video games and technology and stuff like that.

You sort of perform your personality, I guess, to everyone on some level.

My kids are very young. I'm sure there's a world of horror for me to worry about as they get older.

I kept saying I want to do an episode that's set in the past, how do we do a period episode of Black Mirror? And simultaneously there was another idea we were thinking about and the two things sort of gelled and became San Junipero.