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.

Working with the editor on the set means that it is possible to keep track, at every moment, of the exact temperature of the trajectory of the scene - and know precisely what is required to continue, or precede, the action already shot. Like building a giant jigsaw puzzle. This is a freeing procedure because one is divested of all the options that might otherwise hamper one's choices. Clarity is possible. And that means one can relax into each shot, knowing the clear boundaries of where it might end or begin. And with relaxation, comes play.

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.

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

The last time I did anything like this [special powers] was with the Narnia film with two swords, the same but different.

I'll tell you one thing, and this is banal to say because it just makes it sound like it's all planned, and nothing is planned at all. But one link is with The Deep End, and one link is that I'm making a film later on that revolves around the relationship between an innocent party and a dead body.

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.