In fact, the difference between creative and interpretive, it all starts with the writing. Then if you can get the money together to make the film, then you're in touch with the visuals and the actual creation, and the sound of what you want to mean. Of course, some directors get inspired by what people do anyway. Don't feel the need [to stick to the script]. In fact, they sometimes go "That's not what I had in mind, but that suits the purpose well.".

I float from one project to another project, so you miss people and you don't see them for years.

You know, Christianity has its own superstition anyway: Why you turn three times, what this saint means, why you pray to the patron saint of lost causes, why you go this way or that way.

I'm looking forward to locking swords with Douglas Henshall and working against the stunning backdrop of Shetland. I came to Scotland a lot in the '70s and '80s in various theatre productions and of course to film Hallam Foe but this is the furthest I've ever been.

I know I don't go looking for directors.

In good comedy, the structure comes from truth and that weird eye that looks at the way life is.

If all you've got to do is a couple of lines, dear Jesus, don't let them down. Other people are taking responsibility.