There's good art and there's bad art. A lot of action films are bad art, but Paul Greengrass showed us with the Bourne films that it's possible to make an action film with a political, social conscience.

Most of my choices come about through some kind of intuition or instinct, and if I need to, I'll post-rationalize them, intellectually, afterwards. But generally, they come about just by feeling.

I think my dyslexia was a vital part of my development because my inability to read and write meant that I had to find knowledge elsewhere so I looked to the cinema.

I don't make a division between an art film and commercial art.

I went to comprehensive school in North London and left without any qualifications [diploma]. And I was doing bits of acting and improv in a drama club in the evenings. Then I discovered you didn't need qualifications to go to art school, you just needed a body of work.

I see the job of directing as being one of creating the right atmosphere, creating an environment where people can realize their full potential.

There's good art and there's bad art. A lot of action films are bad art, but Paul Greengrass showed us with the Bourne films that it's possible to make an action film with a political, social conscience.