Most films that I do, whether successful or not, just fade away. They have their moment in the sun, then they are gone. 'Trainspotting' did not, and especially with journalists. So whenever I launched a new film, I'd end up talking about 'Trainspotting.'

I find my own pain and others' difficult to tolerate, so I always want to try to shift things so they'll be better. But in doing that, if I am coming from a place of ego, I often cause harm. So it's a struggle for me to set my ego outside and find a softer and more compassionate way of approaching things.

Everybody expects you to be qualified to talk about your films, but in a way, you're the least qualified person to talk about them. When you're finished, you don't watch them at all.

If the American taxpayer knew how much they paid per person to put Neil Armstrong on the moon they would never have paid it. It was hidden from them deliberately because the costs were astronomical.

I always felt it is not good if you feel like you would know how to do something. I've made mistakes of telling people: I know how to do this. And it should feel dangerous. That is the only way to stay alert, to keep the adrenaline running.

There's lots of things that can be solved with cash. And there's occasional things that can't be solved with cash, which become a bureaucratic nightmare for some reason, and there's no distinction between the two.

If I am acting out in any particular way that is harmful to myself - without a shadow of doubt, there is a feeling suppressed under wanting that second candy bar. Often, it is that little voice I haven't paid attention to. It's generally not the adult voice. If I take a moment to address that and figure out what that is, the desire for the candy bar seems to dissipate.