This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.

I have this very strange relationship with my work, which is that it's like a conversation between me and it.

The story, it's really important to The Ancient One that Doctor Strange does cut it because The Ancient One needs a successor, or certainly needs - you could say - a son. So The Ancient One is really invested in Doctor Strange, it's a very kind of primal relationship.

There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.

I'm interested in that whole question of where we wear our identity and how can we see it.

Well the truth is, everybody, when they die, leaves a void that cannot be filled.

I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.