A creative person can suddenly realize it's not 90 minutes. They haven't got to do three acts, they haven't got to do the arc, but they can do other things. I think just as novellas turned into novels, I think that television series can begin to have that depth.

[Allied] meant to be a film that's a bit different. It's roots are in the '40s and '50s, and that sort of filmmaking style.

[The Girl in the Spider's Web] can't be anything other than a sequel, but a couple of books have been skipped, so it is different, in that sense. It's really taking a very strong central character and thinking, how do you execute this? It's quite different.

Suddenly, after years of television being the poor relation and film being everything, it now feels like film is a conjuring trick. It's like, "Oh, my god, how are you going to do that in 90 minutes, as opposed to eight hours?! I've got so little time to do this!" It becomes an art form, in itself. Doing both helps you do each one.

You know that when you suggest something on the page, it's going to be there, plus more. It's a great luxury to know that you don't have to push it. You just lay it out, and it will be there.

The sandstorm, which I think is an absolute triumph, could have been awkward. It's sex in a car, so who knows. And I think the rooftops look fantastic [in Allied].

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