Trans stories have now entered the mainstream in this fantastic way, but the most important thing is what follows from that is hopefully a shift in the experience of trans people - so that there's more acceptance in the culture to the issues they face and more support.

There's something about being cerebral, intellectual, and yet emotionally repressed [in being villain]. If you think someone's doing this [bad] stuff and they're in complete control, that's more scary than if they're out of control.

A lot of dramas get a bad name commercially because they are unremittingly bleak.

I began to think that if you're a stutterer, it's about inhabiting silence, emptiness, and nothingness.

The more uncompromisingly specific you are the more you end up touching the bigger universal truths.

I think directors can become overly infatuated by gilt and gold, and the word "lavish" and everything being magnificent.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.