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

You can believe in originals only if you just don't know their context within literature. Certainly I believe in originality, but it lies with the teller, not the tale.

That's absolutely true, but one problem with the digital revolution, which may tie into what I said earlier, is that there can be a collapse of quality. You may not have liked the decisions made by publishers in the past, you may not have liked the decisions made by magazine editors or newspaper editors in the past. At least there was some quality control

I wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.

If you see, as I do, in edited film, you're going to end up as a director.

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

Get Carter is a classic, but it did nothing in the United States. It came out on a double bill with a Frank Sinatra western.