Every time you want to reset your set and pull walls out and reset the lighting, you're burning up half an hour to an hour, and when you're trying to keep to a schedule, you're constantly having to reassess what's worth it and what you're going to have to give up in order to keep on schedule.

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

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.

We can't tell particularly smart stories if we want to keep our audience big enough to pay for these big spectacle films that we want to do.

Obviously, there's a big homage to Outland in Moon. I obviously had Ridley Scott's response, which was great. But Peter Hyams really loved Moon and was really enthusiastic about it. He was also enthusiastic about the fact we'd remembered Outland and had remembered it fondly. I think, for him, it was like some kind of edification that there were people out there who loved his film. So, that was a really lovely feeling.

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!

Life and career kind of catches up with you.