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.

I'm very much drawn to these stories. This is a huge, great story [in Doctor Strange] about the possibility of living beyond everything, living beyond mortality, living beyond all the immortal confines, living beyond the planet as we know it. It's mind-blowingly no limits, and I think this is going to be something else.

[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.

We were very clear that this film's [Young Adam] so much about a relationship that's borne out through the sexual contact, and that that's the way they communicate.

One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.

I would rather be handsome for an hour than pretty for a week.

We're like the raw food movement in cinema - so determined to give people things that do some good, that they recognize as real.