Once upon a time there was a physicality to the business of investigating a serious crime. There were objects, pieces of paper, even good old-fashioned fingerprints. Today it's different. Because all of us are routinely and voluntarily giving the intimate details of our lives to all kinds of people whether we realize it or not.
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I think there is something about a good person doing bad things for what they consider to be a good reason. Then the battle is on to almost prove to the audience that it's justified. How far can you go with that? How far can that character go before people won't accept it? Trying to walk to edge of that line is a challenge.
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I write about what worries me and, hopefully, things worry me a little bit earlier than they do some other people, purely because I am a writer and it is my job to go out there and be worried by things.
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I think it is best that if you are the writer you just leave the director to it. With the caveat that you state, 'Be gentle with the script. And if there are changes, consult me.'
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The whole process of filmmaking can be chaotic, but if you can have an enthusiastic cast, you're pretty much there.
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I think there's a tendency in England, when you look at the past, to either have upper middle class period drama with its own rules, or if you're going to look at working class people, you have to do that in a particular 'Isn't it a shame, aren't they oppressed' way, or it's treated comically.
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There has been a tendency only to deal with a certain social class when it comes to stories more than 100 years ago.
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There are always people who are doing things that don't fit the official accounts.
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Writing, when it works, one needs to access whatever it is that creates dreams.