I've always been interested in technology, but specifically how we can use machines to engage the imagination. I started using computers when I was young and was fascinated by creating rules and instructions that allow a computer to engage in a dialogue with humans. The stories found in the data all around us can do just that.

With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.

The properties of people and the properties of character have almost nothing to do with each other. They really don't. I know it seems like they do because we look alike, but people don't speak in dialogue. Their lives don't unfold in a series of scenes that form a narrative arc.

I grew up in the theatre. It's where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.

My parents took me to see plays, starting from when I was very little. Oftentimes, I was too young to understand. I don't know what my parents were thinking - 'Who's Afraid of Virginia Woolf' when I was eight years old, that kind of thing. So lots of times, I didn't understand what was going on, but I just loved the sound of dialogue.

One of the chief tasks of any dialogue with the Gentile world is to prove that the distinction between anti-Semitism and anti-Zionism is not a distinction at all.

A dialogue among civilizations can be seen as a dialogue between the individual and the universal.

If you're dealing with a powerful leader, you're inevitably going to have a dialogue with her political past. It was always my intention to interrogate Thatcher's political life.

I'm always looking, as an actor, for activities. I think it's far more interesting to watch what people do than what they say. You always want to watch behavior, because the dialogue as written by our illustrious leaders is great. Eminently playable.