As far as executing work is concerned, you do it all in order. You do it in contractual order. There's no overlap, it's just continuation of your ordinary work. You move from one project into another.

I learned from Ridley [Scott] how to come out of the trailer at a fast walk and make your decisions and keep it going. We were very much on time and under budget, as they say. That was a very important thing for me and very satisfactory.

I don't think you need $35 million bucks to make a movie. I think what people should do is make a lot more movies for a lot less money. You can really do it.

When I was very young, you would get the TV listings from The Globe and The Herald, and you would basically go through them, circle things, and map out your viewing week.

Doing crime films...maybe it's to some extent a matter of taste. Certainly my first novel had a criminal element and was about the similarity of criminals and artists. Pretextually, it was sort of a money bag thriller. But it was aggressively not what it seemed to be. It was kind of Duchamps.

I'm a homebody, as many writers are, and need to be by myself, and I like to be by the Atlantic Ocean.

If you decide to do Hamlet in a funny hat staged in a ruined factory, it doesn't make you Shakespeare.