I only really cast people who are desperate to be in it - who were dying to be in it, whose talent I believed in and were dead ready to do the work that was necessary.

There is some mysterious thing that goes on whereby, in the process of playing Shakespeare continuously, actors are surprised by the way the language actually acts on them.

I think the truth is the Marvel fiefdom exists very independently inside the Disney world, inside the Disney universe. They're not resistant to that kind of thing but they have their, you know there is a whole sort of machine energy and momentum that is the sort of creative drive behind the whole universe that has a big impact on the individual films. I'm glad those scenes got out there. And we've got a few interesting deleted scenes on this.

If you've done a brilliant version it becomes something else.

So many plays with magic in them that would be a terrific invitation to an imaginative animation team.

I noted about Cate Blanchett was her very positive lack of concern for how she turns out in Cinderella. She is happy to be a villainess and very pleased to be encouraged as I did with her to reveal this backstory and feel as though this was very human, that this broken heart of hers, if you might regard it that way, would be visible, but she never played for sympathy and I really admired that about her, so she's just there, she just is and uncompromisingly.

After Frankenstein, I feel as if I want to make a film about somebody having a nice cup of tea.