I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.

I find that people find a way out of misery through humor and it's humor that's often unacceptable to people who are not in quite such a state of misery.

It just seduces you when you read a story and your brain relates to it. You recognize or connect with it. You identify with it; you're bound to.

Come a crisis, we want other people.

We're trying to learn from [Olympic] Beijing, which could be very intimidating. We've learned to expect it's power, it majesty and that it completes a cycle of certain types of shows... I don't think any nation could do anything on that scale. We haven't got that money, and I don't think anybody would have the appetite for that kind of expenditure and that kind of control, so we're going to try and do something a bit more intimate and try and start again... start a new cycle for these kind of ceremonies.

It's a good place when all you have is hope and not expectations.

I'd love to do a cop film in America. That's a genre I absolutely adore.