I love test screenings. Some directors don't, I know. But I love it. I think it's because I come from the theatre and in the theatre, previews are where you really have to listen to the audience and really feel how they're responding. I found our test screenings incredibly useful.

I'm a theatre person, that's who I am. I'm happy to make sojourns into the world of movies but I'm basically a theatre director that potters off and does a couple of movies.

In issues of recent ethnic wars and genocides - particularly if you look at Darfur - one of the most remarkable things is our inability to act, still, despite the years of analyzing and re-analyzing what it does to subsequent generations. We still find a massive inability to step in and step up to the plate, when genocide is happening as we speak.

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.

I love test screenings. Some directors don't, I know. But I love it. I think it's because I come from the theatre and in the theatre, previews are where you really have to listen to the audience and really feel how they're responding. I found our test screenings incredibly useful.

One of the great joys of my job is that you spend a huge amount of time investigating different areas of literature.

With journalism, films always have to be to do with some personal statement of your own. As a general rule, I resist that. In the States, a question that kept coming up was this: how can you, as a man, talk about three women?