[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.

In terms of how [Allied] looks, it's fantastic and much better than I had hoped because it's so lush and so beautifully executed.

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.

[Woman Walks Ahead] is from me being a very bizarre child. From the age of about 8 to the age of about 15, I was obsessed with Native Americans.

[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.

Whenever I see a cut of a film and something is gone, I don't notice it unless it obviously should have been kept.

I like to create a character where you believe, deep down, that they don't really care if they live or die. That's very liberating for the character because, if the character is prepared to die, then they can do anything. It's impossible to stop them.