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.

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.

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.

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

If we don't accept loneliness, then capitalism wins hands down. Because capitalism is all about trying to convince people that you can distract yourself, that you can make it better. And it ain't true.

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

I was just talking to Benedict [Cumberbatch] who's got a little baby and knows his father lives in his phone. We as humans are evolving really fast, so everyday we're hit with that.