Actually, to be honest, this is a useful time to not be knowing what I'll be doing in 2013 or 2014, because really, for the last however many years, I've known what I've been doing for years and years ahead. You get into a cycle of non-reflection, and that gets a bit scary.

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.

At school, I decided I wanted to be a director and then I went out and spent the rest of my adult life trying to be a director. It was really clear to me. So in that sense I was very lucky.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.

There are a few writers that one has a relationship with that means, basically, you do whatever they say. One is Caryl Churchill, and the other is David Hare.

I have never been motivated by money in my life. You can't make choices based on what the financial return might be.