The thing you fail to grasp is that people are not basically good. We are basically selfish. We shove and clamour and cry for adoration, and beat down everyone else to get it. Life is a competition of prattling peacocks enraptured in inane mating rituals. But for all our effacing and self-importance, we are all slaves to what we fear most. You have so very much to learn. Here. Let me teach you.

For me, Batman is the one that can most clearly be taken seriously. He's not from another planet, or filled with radioactive gunk. I mean, Superman is essentially a god, but Batman is more like Hercules: he's a human being, very flawed, and bridges the divide.

A hero can be anyone. Even a man doing something as simple and reassuring as putting a coat around a young boy's shoulders to let him know that the world hadn't ended.

In Hollywood there's a great openness, almost a voracious appetite for new people. In England there's a great suspicion of the new. In cultural terms, that can be a good thing, but when you're trying to break into the film industry, it's definitely a bad thing.

You never quite know what you're going to come back to and figure out how to make it work. You never quite know where that desire to finish something, or return to something in a fresh way, is going to come from. Every time I finished a film and went back and looked at it, I had changed as a person.

One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.

I think there are advantages to different scales of filmmaking. You wouldn't want to do just one thing.