I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.

What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.

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.

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.

This film [Doctor Strange] kind of takes that everyday boring reality and really bursts it wide. So we talked a lot about that. In many ways there's something very practical about this world, the Kamar-Taj. It's - You know, we all look like samurai warriors, but actually there are iPads everywhere and there's a feeling that it's a practical possibility for this modern world that the Doctor Strange universe is functioning, and that we know it and it's around the corner for all of us.

Well the truth is, everybody, when they die, leaves a void that cannot be filled.

Maybe it was my revenge on people who had been unkind to me as a child. But it was very easy and a thrill to freeze up children.