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.

Technology isn't the villain and the people aren't often really the villain so much as they're weak.

"National Anthem" was just a funny idea I'd been knocking about. I initially thought about a beloved celebrity having to do that - and then I watched an episode of 24. In my head, I was writing almost a parody of a 24-style president woken in the middle of the night with a crisis. It seemed more interesting to play it ultrastraight and to have the viewer's initial reaction be one of laughter and disbelief - and just have the whole thing become progressively more uncomfortable.

Women - why aren't you running the world yet? Frankly I'm disappointed in you. Men are still far too dominant for their own good, and consequently we've made a testosterone-sodden pig's ear of just about everything: politics, the economy, religion, the environment ... you name it, it's in a gigantic man-wrought mess.

I could worry that I'm going to bleed to death, you know, from cutting my finger on a sandwich packet, you know, if I sort of open a sandwich.

I did once leave one of [my kid] watching something on YouTube, something completely innocuous, and I went out of the room and the algorithm kept playing the next thing and the next thing and somehow worked its way around to showing him the trailer for John Carpenter's The Thing - at which point I walked back in. He wasn't happy.

If love were a product, the queue at the faulty goods desk would stretch right round the universe and back. It doesn't work properly. The seams come apart and it's full of powdered glass.