The only real struggle [in Doctor Strange] was casting spells - learning all these amazing things with fingers, and then remembering what to say at the same time. They would say, 'So you have to put your hands there, not there because the light is going to go [MAKES SOUND] so that kind of masks... but it was all good.

We must hang on to the idea that we can actually change things. That's the sort of environment that Joe finds himself in, in Young Adam.

We talked [with Scott Derrickson] about making it kind of muscular and practical. Yeah it's a fantasy but what's the difference between fantasy and reality really?

How do we identify ourselves, and how do we settle into other people's expectations for our identity?

I've been really happy to be in that conversation with Scott [Derrickson] for a few months now. We started chewing this cud a while ago. He is, as you probably know, an extremely erudite thinker in terms of religious philosophy and just thinking about a modern take on something really, really ancient, about how to imagine living beyond any physical bounds, which we're on the verge of now.

We're filling a big universe [in Doctor Strange], and so the look and the sort of plasticity of us is really important to us when we're striking poses here. It's very important, it's really great.

This is the launch of the Doctor Strange film interpretation, of - in my view - a classic, which has been interpreted many times by other graphic artists and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.