I don't watch anything. I work so much. If I see a film, it's usually that I'll go in after working 15 hours and slam in The Bridge on the River Kwai or something.

You're not turning the picture over to a system or a process, you are the process, and the most important thing is to have things exactly as you want them.

It's been very much in the blood since I started imagining films or shooting with 8mm when I was a kid. I made some films and thought about films, but then I went into writing. Becket is something that's definitely on the cards. We have to see where that fits in the schedule, because it's a big picture and I have a lot of writing obligations at the moment. I'm wary of anything with a budget over a certain amount.

I'm in the film industry, and I very seldom go to the theater now. It could be work, not being in New York, that sort thing - because in New York, you do go to theaters; you can walk to a theater and then walk to a restaurant. But in places you have to drive out to the cineplex to see a movie, it's starting not to be worth it anymore. It's like the days when you went to get a book at the public library. You don't have to do that anymore. You just go on your iPad and all of a sudden you're reading The Duchess of Malfi.

I think that scripts should be published, but they are published, really, because when you're a screenwriter, your stuff ends up in samizdat form on thousands and thousands of desks and shelves across the industry.

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.

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.