We were very clear that this film's [Young Adam] so much about a relationship that's borne out through the sexual contact, and that that's the way they communicate.

When I say that it's taken us [with Luca Guadagnino ] 11 years to make this film, what I mean is that it was 11 years ago that we started to talk about a kind of cinema that we wanted to make together.

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.

We must hang on to the idea that we can actually change things. That's the sort of environment that Joe finds himself in, in Young Adam.

We're filling a big universe [in Doctor Strange], and so the look and the sort of plasticity of us is really important to us when we're striking poses here. It's very important, it's really great.

If I'd been asked to play an Asian man [in Doctor Strange] I would've shown them Benedict Wong.

There are many graphic artists who have interpreted The Ancient One as a Tibetan Buddhist Lama, we're kind of shifting that a bit. We're trying not to be fixed, we're trying not to be fixed to any one thing, any one gender, any one spiritual discipline, and any one race even; we're just trying to wing it beyond that. So it's a new gesture really, just another interpretation.