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'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

- Abi Morgan
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Abi Morgan
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I used to believe in God as a child. God, for me, was linked with hope.

I definitely people-watch. I often see photos of myself with my children: I'm always in the background with my mouth wide open, looking somewhere else.

I write an actual script rather quickly - a draft will take me two weeks - but I write a lot of drafts. My big thing is I don't re-read. When I write, I never re-read back. I'll send it, because if I re-read back, it will cripple me.

If the world is in complete flux for me and life is falling apart, if I just manage to get myself in front of a computer or at my desk, it calms.

To be honest, if I was going to have any kind of fantasy, be it left-wing or otherwise, it wouldn't involve Margaret Thatcher.

All work is a process of failure. Every single thing I write, I look at it and go, 'Do better. That's not good enough. Do better.' And so, that keeps me up at night.

I am the most tense, annoying person in the world.

I don't look back. I don't look forward. I am totally now.

The older I get, the more I have to think long and hard about what I need to say and why.

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'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.