I mean, yeah, I'm sure that Python and the other things have paved the way for a greater understanding of the British sense of humor, but I don't think it's all that different than the American sense of humor.

If there is no fate and our interactions depend on such a complex system of chance encounters, what potentially important connections do we fail to make? What life changing relationships or passionate and lasting love affairs are lost to chance?

I love my job very much, and I don't think I would change it. In fact, I know I wouldn't, because I can't do anything else.

In the most basic terms it was about how when we experience art without critical awareness we consent to the ideas being promoted, either intentionally or unintentionally, by the filmmaker. For instance, if you watch a racist comedian and laugh at his jokes, you are consenting to the prejudices inherent within them. Similarly, if you watch a movie which perpetuates conventional ideas about race, gender, etc., you are consenting to them and not affecting change in any way.

We realised that it was important to embrace this popcorn logic, that it works, that it's funnier when you fire 20 rounds from one tiny pistol. Then it becomes the joke, it's funnier when you pay less attention.

Chris Martin's a good friend of mine. I'm actually Apple's godfather. He's an old friend and we've been mates for quite a few years now.

Now there's a whole generation of filmmakers who grew up making their own films with video cameras, and have dined entirely on a diet of popular culture. It's been reflected in a lot of their work. It's self-reflective, it's quite knowing, but it's very literate.