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.

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

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.

For me, film has been good because I'm able to work at top crack, working at something I love to do, in the only literary form in which you can still make money. There are no famous novelists, not as novelists used to be famous.

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

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

Yeah, well I can't see a situation where I wouldn't at least re-write as a director something I was going to direct. At the moment, I wouldn't direct anything that I hadn't written. I can now say, as everybody else says, that it all depends on the script.