'Uprising' was one of the first three or four albums I ever bought in 1980 when I was 13, and that had a strong impact on me.
The amazing thing about Bob Marley is that there is no moving footage of him at all for the first ten or eleven years of his career. From 1962 to 1973, there's nothing, not a single frame.
It's always nice to have the same people that you are familiar with and shorthand with, obviously, to be around you.
I think everything that I've done, I've been involved with for longer. Either you develop it from scratch, or you take something, and you develop it, and you work on the script, but I'm not sure how good I'd be at just sort of taking a piece of material and being a director for hire like that.
John Lennon made wonderful music, which people listen to as music. Nobody around the world is living their life according to the precepts of John Lennon.
I started as a documentary maker, and they're my first love.
There's something about the lack of certainty with a documentary, which is exhausting if you do three in a row. It's nerve-wracking.
I was born at Rotten Row in Glasgow and brought up in Loch Lomond near a small place called Gartocharn. And it's a bit like anyone: where you're brought up, you have an irresistible attraction to that place; it defines who you are.
I don't think of myself particularly as a Scottish director, but you are what you are because the first ten years of your life, and where you spend them, brand you. In that sense, I'll always be a Scottish director.
With fiction, I've grown to really love the challenge of lying, the challenge of telling a good tale that isn't truthful, and working with performers is endlessly fascinating. You know, learning what a good performance is, how to get a good performance, how much or how little you need to create emotion or to create character.
Like a lot of expatriate Scots, when you want to be called Scottish, it's useful. I see myself as being without nationality, as a European: my region is Scotland; my nationality is European - isn't that a very Alex Salmond thing to say?
I always loved digging away at the story, trying to find out things that people don't want you to find out and piecing it all together. I love the treasure hunt aspect of it, the thrill of the chase.
My grandfather died before I started making films, but I definitely learnt this from him: believe in your own judgment and stick to your guns - 99% of the time, you'll be glad you did.
If there's a principle really worth sticking up for, I'll go the whole way.
I went to see 'Francis Ha,' which I could certainly relate to. She ends up wandering the streets of Paris all alone - something I've ended up doing a number of times in capital cities around Europe.
Put someone on a horse looking cold and wet, and they don't have to act. They just are cold and wet.
For me, what works well about 'Life in a Day' is that it's emotionally affecting without being manipulative. It really does make you think about the connectivity of the world, the similarities and differences. It shows the experiences we all go through: birth, childhood, falling in love, having kids, getting ill, dying.
I can't claim my grandfather's work has influenced mine directly, but his life certainly inspired me to follow this path.
I don't read many young adult books.
I suppose that I'm easily bored.
