I do get funny people sometimes coming up to me in supermarkets in America with my picture in their pocket, which is a bit strange.

I don't always want a big meal after work - just some crisps and wine!

I'm not very good with stills. I get all twitchy.

If I was going to make a broad generalisation, I'd say that I prefer the company of women. People know now that I live with Mike Figgis, but I prefer not to talk about it. On one level, privacy is important, but on another level I have no desire to deny certain things.

Once you get into your stride, the camera becomes like another person in the room. It's like being in a very small theatre where there is no getting away with anything because the audience is centimetres away from you.

In orthodox film-making, you never shoot sequentially - but with improv, obviously every move you make has a knock-on effect; it is a cumulative process. I have improvised, on the non-scripted 'Timecode.' It can become entirely indulgent: actors smashing crockery and competing verbally.

He makes me laugh, Mick! He tended to turn up when we were having lunch and entertain us all. He bought an Enigma machine! I've never worked with a producer who was more famous than everyone put together.