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

I need as much of the business of making a film to be in my own workspace. It really ought to be a bit more like doing a novel, alone, at first. I'm feeling my way.

When I'm shooting, as much as writing, I see edited footage in my mind, so I work that way, and it's economical.

The empirical is very important, but merit is inherent and not acquired. A university is massively important because you can see where you stand naturally in the ranks, and try yourself out, but education is just reading and understanding what you read.

Look at what people are trying to conceal, and you’ll see that they’re revealing everything.

I cut London Boulevard pretty aggressively, but I liked the transitions and the elliptical feel that I got. It's not an exceptionally easy film to follow. You have to know that the paparazzo looks like Mark David Chapman. He hasn't got an expositional sign on him.

As first time director, though, you're like a new officer coming up to be in charge of very serious veterans, and you're always going to have guys looking at each other for the first day until they realize you're not screwing around.