They're a redefinition of boredom... the most important thing you need to know about an awards show is where is the nearest smoking opportunity.

I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.

The great fun of doing new plays is that people have no idea what's going to happen next. That goes quite soon, as people start talking about it, and the only way you can keep hold of that is genuinely to keep changing it.

You have to trust your own instincts about what is appropriate and what is not appropriate and trust your own feelings about what you can and can't show for yourself, and it'll be different for everybody.

The culturally specific, in particular, the American porch play that American writers have cherished and loved for many years in terms of their new writing, has seemed to have very little relevance to a much more fast-flowing, abstract, experimental drama that has been emerging in [the UK]. The porch play, not to mention that thing of, Oops, I wasn't loved enough by my father, somehow didn't have the relevance in this country.

They're a redefinition of boredom... the most important thing you need to know about an awards show is where is the nearest smoking opportunity.

I would love to do something for TV... I wanna do 'Kavalier & Clay' on HBO as an eight-parter. It'll be so much better as a series, honestly.