Because you're running an enterprise with two hundred-odd people, and it's really your responsibility to keep it moving quickly. So you have to know what you're doing, do it, and move on.

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

Redrafts can be very lucrative for me, but you must understand that if films go through many drafts or writers it's because someone doesn't want to do the picture and never will.

If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.

I write drama in the English language. If I wasn't working in London I'd be doing something wrong.

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.

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.