By the time I came to do the final ones [Harry Potter's film], I was working on something that was massively successful. There was a huge difference in indulgence and all sorts of stuff. A very big difference in peoples' attitudes. They were very pleased with themselves. In human terms, it was quite interesting to see the difference.

By the very nature of being a clergyman's son, people tend to put you slightly apart, which is - you tend to live a life, at some stages, as being - people being suspicious of you and puts you rather on a - I don't mean lonely, particularly. But it does tend to put you apart.

Developing characters is a collective process, on one hand; it's an individual process on the other. The truth is rarely pure and never simple, as dear Oscar Wilde would say. A great of it, of course, is, you collect as much information as you can and then you put it into the mulberry of your mind and hope that you come up with a decent wine. Sometimes you do; sometimes you don't.

On the other hand, you get other films that are spread over a much longer period of time and it's entirely exhausting. But there's always light at the end of the tunnel with a film.

My springboard is always the script. Even if the script is taken from a novel, I often haven't read the novel...

I love working with Lars [von Trier]! I've worked with him three times. I did the narration of Dogville and Manderlay.

I put everything I can into the mulberry of my mind and hope that it is going to ferment and make a decent wine. How that process happens, I'm sorry to tell you I can't describe.