A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it.

It's always good to have a world that people don't know about - a world that hasn't yet been done. It's like treading on fresh snow. You're the first one there.

It has to be an actress like Marion Cotillard [in Allied] because there are so many levels to it. It's set in the Second World War, when lots of people were doing things that, outside of a war, you wouldn't do, like killing and dropping bombs. She's doing things that one wouldn't approve of, but it's war.

I was 21, when I heard the story that inspired this [thriller Allied], and I wasn't even a screenwriter then.

It's great that the story [Allied] is set in the '40s because the '40s feel to it is completely appropriate.

The plan is that there would be three seasons [in Taboo], and, as with Peaky Blinders, I have had a destination in mind from the beginning, because I think it helps as a writer. The destination in mind is that James Keziah Delaney sets foot on Nootka Sound. But that's a long way off.

I spoke to Tom's [Hardy] manager and said, "While we're talking about Taboo, do you mind if I also mention this film project that I've got, which is called Locke, and I need Tom to play the lead." And we spoke about both in that meeting and in the end the deal was that I would do Taboo if he did Locke and vice versa.