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“The less you offer, the more readers are forced to bring the world to life with their own visual imaginings. I personally hate an illustration of a character on a jacket of a book. I never want to have someone show me what the character really looks like - or what some artist has decided the character really looks like - because it always looks wrong to me. I realize that I prefer to kind of meet the text halfway and offer a lot of visual collaborations from my own imaginative response to the sentences.”

“When I first decided I wanted to be a writer, when I was 10, 11 years old, the books that I loved obviously and openly fit that description: They came with maps and glossaries and timelines - books like Lord Of The Rings, Dune, The Chronicles Of Narnia. I imagined that's what being a writer was: You invented a world, and you did it in a very detailed way, and you told stories that were set in that world.”

“You can't write a book if you've never read a book. And if you've read five books and you try to write a book, your book will mainly encompass the themes and the context of the five books you've read. Now, the more books you read, the more you can bring to a book when you decide to write one. So the more rap I learned, the more I was able to bring to rap when I decided to rap. But this was all subconscious.”

“The guys that write Once Upon a Time were major writers on Lost, and we had lunch when I started on OUAT and the first thing I said to them was, "I spent five years on Lost, you have to tell me, was my character good or bad?" They looked at me and said, "We have no idea." That's why you have to make your own backstory. I decided Widmore was the evilest of the evil, but in the end, not even the writers knew.”

“My experience came before most of you were born. My school was a state school in Leeds and the headmaster usually sent students to Leeds University but he didn't normally send them to Oxford or Cambridge. But the headmaster happened to have been to Cambridge and decided to try and push some of us towards Oxford and Cambridge. So, half a dozen of us tried - not all of us in history - and we all eventually got in. So, to that extent, it [The History Boys] comes out of my own experience.”

“I had no idea of who could play it, no notion really. Then Richard came to see us but I don't think it was decided at that meeting. The trouble is, as soon as you've chosen somebody it obscures anybody else you might have thought of. It's like going to a place that you've never been to before - you've got a picture of it and then you go there and that picture is totally wiped out by the reality.”

“Tom [Courtenay] and Albert Finney met Ron Harwood on the dresser, so that's how it started. It's a wonderful documentary. It's called Tosca's Kiss and Mr Hardwood told me about it when I asked him what the genesis was. It was made in 1983 and Verdi, who was rich and successful, toward the end of his life decided to build a mansion for himself in Milan, where he lived, and he stipulated that when he died opera singers and musicians - because he knew so many who were no longer playing at the Scala and some were poor - could live there.”

“You're always in a tunnel that you can't see the end of. But there's something that took place on this movie that I don't think we expected and that was that once we decided that the entire cast would be real retired opera singers and retired musicians... and these people the phone hadn't rung for them for 20 or 40 years even though they can deliver.”

“According to the legend an evil old doctor, who called himself God and us dogs, created the first boy in his adolescent image. The boy peopled the garden with male phantoms that rose from his ejaculations. This angered God, who was getting on in years. He decided it endangered his position as CREATOR. So he crept upon the boy and anaesthetized him and made Eve from his rib. Henceforth all creation of beings would process through female channels. But some of Adam's phantoms refused to let God near them under any pretext.”

“Four experts had an appointment with an ordinary man. They needed him to ratify their findings, or anything they achieved would be meaningless. As they drove to meet him, they knocked down a man on the road. He was dying. If they tried to save him, they might miss their appointment. They decided that their appointment, which concerned all of us, was more important than the life of one man. They drove on to keep their appointment. They did not know that the man they were to meet was the man they had left to die.”

“It takes a while to master the art of hammock-lounging. At first I could only manage five minutes or so before I thought I ought to get out and go and help a child learn how to swim or something. But after observing the Mexicans' capability for staring into space for hours on end, I decided to put in some proper practice.”

“There's a lot of food restriction in the Bible, but it does say you're allowed to eat crickets, grasshoppers, and locusts. I decided to take advantage of that and eat a cricket. It was chocolate-covered, and I'm not sure that's the way they were served in Moses' time. But this was a rule that seemed crazy on the outside, then actually turned out to be pragmatic and compassionate.”

“When I was at art school, a lot of art education is about art being a means of self-expression, and as an 18-year-old I didn't know if I had a huge amount I wanted to express. It was a big moment when I decided I wanted to shift the emphasis or the intention of my art from something I disgorged myself upon and something that actually fed me or made me see the world or understand the world.”

“Someone sent an email to Reverend Joanna Watson [an American missionary] saying that I'm gay, and she sent it to all the anti-gay pastors in Uganda. One of them said, "We're going to take care of this guy." When I was confronted by them I didn't know what they were going to do, but they decided to pray over me. They said they were going to cure me. That didn't work, of course.”

“I wish my life and decisions to depend upon myself, not on external forces of whatever kind. I wish to be the instrument of my own, not other men's, acts of will. I wish to be the subject, not an object...I wish to be somebody, not nobody; a doer - deciding, not being decided for, slef-directed and not acted upon by external nature or by other men as if I were a thing, or an animal, or a slave incapable of playing a human role, that is, of conceiving goals and policies of my own and realizing them.”