There were three options [in Allied], which were for [Bred Pitt] to shoot [Marion Cotillard], for them to escape, or for her to pull the trigger, which is a heroic act to spare him. When I was thinking about how it would end, a long time ago, I think I tried each of them to see, but two of them did not work.

Obviously, television is a writer's medium, so you get a lot more power and authority. With a film, the discipline is having a beginning, middle and end, and having it work in a specific space of time.

With FX in particular, they've been fantastic and were really hands off. I mean, it helps that you've got Ridley Scott on your side.

[Taboo] has been exactly the same as working with the BBC in that creatively they do that precious thing which is to only make a comment when a comment needs to be made.

I think that it's not a bad thing to not be too versed in the vocabulary of cinema, because you start to think that certain things are allowed and not allowed.

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

I'm always interested in characters who are closed down, but who open up when they choose to, rather than when they're obliged to. I think that's a very appealing thing, for an audience and just in life. I like the idea that something will say nothing, and then get straight to the point. That feels like how your heroes should be.