There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money.

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

It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all.

It was an amazing performer. Very temperamental, it spent a lot of time in its trailer.

It's wonderful to actually have an opportunity to get real and show how complicated and fascinating sex is.

If I'd been asked to play an Asian man [in Doctor Strange] I would've shown them Benedict Wong.

Working with the editor on the set means that it is possible to keep track, at every moment, of the exact temperature of the trajectory of the scene - and know precisely what is required to continue, or precede, the action already shot. Like building a giant jigsaw puzzle. This is a freeing procedure because one is divested of all the options that might otherwise hamper one's choices. Clarity is possible. And that means one can relax into each shot, knowing the clear boundaries of where it might end or begin. And with relaxation, comes play.