It's weird, because usually if you're British and you go to America you play baddies; but I play naughty people here and goodies in America.

Logic doesn't really provide for loyalty. If your logic changes suddenly and things not make sense, you can alter your allegiance, but love stops you from being able to do that.

When I became a father acting sort of took the place of what I did in my free time and my children became the main focus. I play a lot and my children play. Both my sons - my daughter's still too young really - have surpassed me with their music skills, which is wildly irritating.

I feel like the world we live in seems to be full of an increasingly grey area, but the culture that we live in seems to be getting really entrenched in black and white positions, and I think it's urgent to talk about that because it's going to kill us all.

I don't want to infantilize the actor; I want to empower the actor. Actors can be many things, but all of the really good ones are really great storytellers, and I'm interested in that. If you're not interested in that as a director then you better be Stanley Kurbrick.

An agent friend of mine who will remain nameless said you can't make a romance about homeless people; nobody wants to see them kiss. And I thought, what a repulsive, repugnant, extraordinary thing to say. I had to think about the fact that the world is probably full of other people who feel like that. The very idea that we spend time trying to humanize humans is extraordinary to me.

In the old days when I first was coming up, you would turn up on set in the morning with your coffee, script, and hangover and you would figure out what you were going to do with the day and how you were going to play the scenes. You would rehearse and then invite the crew in to watch the actors go through the scenes. The actors would go away to makeup and costume and the director and the DP would work out how they were going to cover what the actors had just done.