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.

Eleven years is a great length of time to prepare a movie, it would be wonderful to have 11 years of funded preparation.

The whole thing of working in collaboration with filmmakers is the thing that I love the most, and possibly the thing I do the best.

This is the launch of the Doctor Strange film interpretation, of - in my view - a classic, which has been interpreted many times by other graphic artists and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.

It was just me, naked as underneath my clothes right now, as all of you are.

The people I'm working with tend to be people I know, who are my friends, and I like hanging out with them. There's nothing better than making a long-term project with your friends. It's just dreamy.

I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.