The first series of 'McMafia' is very Alex Godman-centric and could continue to be, but we haven't even begun to explore the Middle East or Africa or even South America in detail. One of our ambitions would be to drop into some of these other places and, by doing so, bring the audience into a world that they wouldn't necessarily have been in.
I just think action films now have... often, because you can do anything with CGI, people do. And I don't think you necessarily should. You lose that sort of human dimension, and you get all the stuff breaking the laws of physics.
I think audiences are far too sophisticated now to have an English actor putting on a Russian accent - it feels fake.
In Zagreb, the Old Town really could be Prague. You go two hours to the coast to Opatija, and you really could be in the South of France, in the Croatian Riviera. And then you head down the coast towards Split, and you get into more Turkish architecture, so you can double Istanbul.
For action to work, you need an awful lot of coverage. Because if you do a fight sequence, you really need to be able to creed the energy in the edit or augment the energy in the edit. So you need to really, really cover it.
I've got lots of friends who would just think, 'Horror movies - they're crap, aren't they?' I think there's a cultural snobbery more than an institutional one.
Television is ever more ambitious, more akin to the Victorian novel with multiple narratives and more discursive material.
If you look at 'The Sopranos,' there's this notion of a criminal element on its last legs.
'The Godfather' is the talismanic giant that hangs over everything in the gangster genre.
It helps for actors if you have one director.
Living in London, you feel the sense of how it has developed into a service city. People come here from around the world - both to launder their money and launder their reputations.
Chemistry's a weird thing. You can see actors who are friends in real life but have no screen chemistry. Then there are actors who don't get on but have great chemistry.
Where previously the international underworld was a world of local, often-warring mafia territories, it has become globalised. The criminal has become corporate, and the corporate has become criminal. Organised crime has become very organised indeed.
If you think about the traditional mafia stories we grew up on, it is always about the death of criminal organisations - things like the 'Sopranos' - the last vestiges of once proud families subsumed by the modern era.
We think criminality is something that exists in somehow another world to us. But actually, there is an invisible criminal web in which we are all enveloped.
If you look around in London, there is a lot of dirty money. People see it as a safe haven: a bolthole to rely on if they are criminal or politically exposed in their own country.
I do love a dark movie.
There's nothing worse in television than what I call 'poor man's Jerry Bruckheimer.'
There are a lot of horror films out there that are nasty, but what's nasty isn't necessarily scary.
Parents fear for their children. Absolutely, I think it's a deep and troubling theme to explore.
