But the web is to some degree a broth of psychopaths seeing what they can get away with in circumstances of anonymity. Look, we live in a world where one is unsafe in various ways because of the Internet. Anything can be said. Someone can look at your house from space.

I'm not a precious text protector, or anything like that, you know, because it's a much more vital form than that. You have to rock.

I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.

When they see you get what you want and move on, quickly, you've done a contract with the crew from that point. In Britain if the sparks call you Guv on day two, you never need an award of any other kind.

There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.

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 wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.