When you get back into the editing suite in the cold light of day, the written stuff is better.

It breaks your heart when you throw something away, but it's what left that counts. It's like worrying about the bits of rock you have knocked off in order to make a beautiful statue. You've wasted half the rock, yeah, but it's the Venus di Milo!

Pol Pot - he rounded up anybody he thought was intellectual and had them executed. And how he told someone was intellectual or not was whether they wore glasses. If they're that clever, take them off when they see him coming!

Sometimes I'll be confident and go into a shop and say, "Hello, yeah, all right," and then the next day, if someone looks at me or talks to me, I just don't know what to do. If you're walking down the street with a baseball cap, you might be fine. But if you're in a pub and you see someone look at you, you think the worst thing in the world now is if they come over. It's a really weird feeling.

I'm a militant fundamentalist atheist. I'm going to get on a crowded train, unbutton my coat and say rational things. People will be hurt.

Of all the disciplines involved in making anything - TV, film or anything I do - the writing is the most valuable commodity.

Funny bones, to me, are more important than funny lines. If a comedian is just not likable and doing the lines, you could read them yourself. Whereas if someone [you like] shambles out, and they tell you what a bad day they've had, they don't have to say anything. I love them. I want to hug them because they've been through something. And it comes back to empathy, always empathy.