I was not, and am not, officially a producer of that film [I am love] but the work of what a producer does I learned at that stage and to a certain extent I've been a producer ever since.

George [Clooney] and I do have the aim one day to be in a film where we say one nice thing to each other. Hopefully one day.

You can sit next to somebody on the underground, and you can look at them quite intensely, but you can never, ever know what they're wearing under their clothes.

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.

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.

The work is different in the sense that I haven't had to travel round the world raising money, or work from the genesis of the project. But the collaboration feels clear always, it's sort of my drug, I'm in it for the conversation. The conversation's the most important part of it.

The only real struggle [in Doctor Strange] was casting spells - learning all these amazing things with fingers, and then remembering what to say at the same time. They would say, 'So you have to put your hands there, not there because the light is going to go [MAKES SOUND] so that kind of masks... but it was all good.