Movies are about time. You can take that momentum and manipulate time as well, or you can deliberately slow it down, stop it, and start it again. There is no other art form that does that type of manipulation in that way.

You use elements of noir, but you don't want it to be too noir-ish. You don't want it to be advertised as though you're asking people to go and watch an updated noir. I don't think they'll go do that. They want to see a modern story.

Everybody knows Aaron Sorkin's scripts. There's a huge amount of lines. There's a huge amount of interchange. You gotta do a lot of learning to be able to get it up to pace.

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.

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.

I'm a big sports fan. Football. Cricket.

We want to see drama told in a cathartic way, with power, with emotion where you empathize and then you're frightened. All those feelings charge up in you and you feel for the story.