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

Martin [Campbell] is very energetic and precise. He'll on the set like four hours early with a flashlight and I thought, well, I'll certainly try to be very neat about my script like Martin, which I wasn't, but I'm not going to do that bit with the 4AM and the flashlight. I'd love to be able to say I was nervous, but I wasn't. The only time I ever had anxiety it turned out to be asthma.

I'm interested in stories about human beings. I don't care where or when they are set.

I'm more from a double world where I wasn't part of anything or invested in anything, because I was Irish, and very Irish, but also the other part of my family, not that it had airs, or money, was descended from the first minister on Cape Ann in the 1620s.

The only answer to "Are you Beatles or Stones?" is, "I'm both."

Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation.

I think probably everybody works most on the beginning and the ending.