I love to see a wood full of bluebells. Growing up in the Kent countryside, I have special memories of this brief annual spectacle.

I got a job as an assistant film editor, which lasted for a few years, but I found writing incredibly difficult, and I thought, 'How am I going to make a film if I can't write?' I didn't really comprehend that someone else would do that bit.

I lived on nothing for years - squatted where I lived and where I worked, stole electricity, made things from stuff I found in skips, used paper that had been discarded - you do everything you can do to keep going and not have to get a job.

Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.

I like the variety. But basically my choice of films is a small intimate film. Quiet film, no action, just people in relationships. That's what I like the most.

A lot of people over time have had this kind of pattern in their relationship with Bill Clinton. You first meet him and you're overwhelmed by his talent. He's so energetic and articulate and full of ideas and he calls himself a congenital optimist and that optimism is contagious.

You have teams on and off the field. You have your team off the field in terms of your family, friends, and people that you work with, and then you have your team on the field. You have to give to receive and be there for people and hope that they do the same for you.

I have absolutely no empathy for camels. I didn't care for being abused in the Middle East by those horrible, horrible, horrible creatures. They don't like people. It's not at all like the relationship between horses and humans.