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.

In The Deep End, you have a woman who looks like a J. Crew mother who can manage it all. Then we begin to realize what's going on inside. Every time I see one of those women stuck at a stoplight with the children in the back of her car, I sort of think, "What have you just done? What's going on in your life?".

That whole Deep End experience of finding yourself with the dead body: you know you didn't kill it, but you know if you're found with it, you're gonna be done for it, so you have to get rid of it. And that's a really important nub of Young Adam — Joe knows for absolute certain that if someone comes around the corner, that's it. Nobody's ever going to believe what happened. So that has nothing to do with identity or sexuality, but that is a link. I'm just fascinated by it.

We also knew [ me and Ewan McGregor] that, on a practical level, if there was going to be that much sex in the film [Young Adam] - which there clearly had to be because sex is the meat and potatoes of the thing - it had to be varied for the audience, because it's important to keep the audience living in it.

To be honest the work that a producer does is work that I've done for most of my working life. It's work that I started to do, for example, when I worked with Sally Potter on Orlando. We developed it together over five years.

I always think of the word 'abandonment' when I think of the character.

We're living in a new Beat time, in my view. And it's very difficult for us to hang on.