There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.

People wrestle sometimes making movies, and I think that conflict is a very essential thing. I think a lot of very happy productions have produced a lot of very banal movies.

I don't have anything to prove to anybody, which is a lovely place to be.

I remember as a kid having the offer of a scholarship, that it was going to be like going to Mars, and deciding to stay in my public school.

You know, the process of making a documentary is one of discovery, and like writing a story, you follow a lead and that leads you to something else and then by the time you finish, the story is nothing like you expected.

I'm very aware of modern countryside issues, such as rewilding: how, as science progresses, we begin to understand that a healthy ecosystem is multiform.

Scientific studies about relationships fascinate me, and I devour them hungrily, especially when they give big, fancy-sounding names to everyday experiences.

Every time I hear a politician mention the word 'stimulus,' my mind flashes back to high school biology class, when I touched battery wires to a dead frog to make it twitch.