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I'm just always learning lines. I've learned to flag the really crucial scenes, and I start figuring them out and committing them to memory as soon as I get them.

Almost every scene, I re-think as I'm about to start drawing it, and at least half of the time I'm changing dialogue or whatever, or adding scenes or different things.

Rehearsing a scene beds a role into you. But sometimes, if you over-rehearse it without unearthing any new meaning in it, you can suddenly forget your lines. You realise that you are on a stage, not in the real world. The scene's emotional power, and your immersion in it, disappears.

I tend to edit some as I go - partly because one of the reasons I don't outline much is that I don't know what the next scene will be until I've actually written the previous scene.

When I'm on the set, I'll come up with ideas if I'm sort of just between responsibilities, because there's a lot of sitting around on set. Invariably, though, the stuff I come up with on the set tends to be bad.

I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.

I throw everything I have into whatever story I'm writing - and so there's something immensely gratifying about finishing one piece and then starting fresh with a new setting, time period and cast of characters, getting to see the world through a completely different lens each time.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.

Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.