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.

I'm a huge Marvel fan and the fact that they take the liberties that they do in filmmaking I think, if anything, that it dignifies the comics and it says, "Yeah. This is a strong enough, robust enough source. We can bend it, it's elastic. It's bouncy."

As a performer, I'm constantly fascinated with the idea of being able to know what anybody else's experience is, and how misleading all informatives, like appearance, can be.

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.

Years ago, when James Bulger was murdered, every newspaper front page was talking about evil. At that point, having suppressed it for years, I remembered when I was four or five, I tried to kill my own brother.

Derek Jarman shared the responsibility for making the film. He didn't necessarily know what he wanted - he knew what he didn't want - but you had to keep coming up with stuff.

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.