London matters to me because it's the center of what I do for a living and has been since Tudor times.

The old days of screenwriting, and myths about screenwriting, are maybe over. It's a literary form, if you can wake up to it.

I was always entirely about work, about getting where I am now. If I'm not working I'm thinking about it, though at some point I learned not to talk about it very much.

Without English art, I never would have understood myself, my own family, or the New England world I lived in.

Actors are players and if they're hot, or onto something, you let them go, or you and the actor can both get on to something. I always run out with lines as I think of them.

Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.

On historical you take the known facts, dramatize them, and then stitch them together by invention. It's a projective thing.