Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I'd like to do.

We rehearsed for a bit for an Indie film, which is kind of unusual, we had a week of rehearsals before we actually shot the films so we were able to really break down the script and kind of work through all of the improvisational things that he wanted to do, so he had a chance to really feel his way through before we actually shot it and I think that helped a lot.

Here in the UK the audience immediately reacts and they get the fact that: "What would be the most annoying thing in the world?" A Chesney Hawkes alarm clock!

I've been working my way to doing my first feature film for about ten years. So I went through the commercials route and some people come from a theatrical background and some people come from a writing background, but I directed commercials

I was doing the promotion for Moon in LA at the same time that Tony Scott was there with [The Taking of] Pelham 123. But obviously he was so concentrating on his own film that he didn't even know I was doing a feature film.

When I was a kid and I was being introduced to science fiction by watching movies with my Dad, Kubrick is one of those guys that we used to watch, you know, I watched Clockwork Orange at an age that was incredibly inappropriate, but he sat there with me and he explained what was going on and you know, I came to appreciate it even if I was terrified at the time.

I think I was brought up with games and I don't think that they're just Pac-Man or Space Invaders. I think we've moved on, I think that there are stories being told and worlds being explored.