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

There were days when you would get the TV listings from The Globe and The Herald. Video was out, but nobody could afford it...expect for my uncle George, who was a second father to me, and had every film in the world, and every book.

I think that gambling is a synthetic experience and that if you have any balls you gamble with your life. I have. So can everybody else.

When I was a kid in London there was just something about the light and there's something about the way London went onto film in those days, whether it was Technicolor or Technicolor plus the flatness of the light, or whatever.

Most films go out like skydivers who have had their chutes packed by a committee of blind schizophrenics.

It's interesting to think that my children know more about the process than many mature critics.

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.