It’s like a kind of boiling kettle, you know: you don’t want to make your tea until the kettle’s boiled and it’s the same thing, you don’t want to make your movie until you’re boiling with something you need to say. And theater, for instance, has always given me the opportunity to wait for that moment. It’s the same with film actually — film has given me an opportunity to wait until I’m ready to do a play. One fuels the other. Even the decision to write and make 1917 , weirdly, came out of doing the Bond movies.

I think the starting point has changed for me over the years. I think with Court , The Disciple and the short film, it was the setting, the world that got me interested. It was very sort of driven by fascination and curiosity, and a very unconditional kind of curiosity, where it’s like, “Let’s just immerse ourselves into this world that we have no idea about.” And hopefully a plot, a certain theme or certain characters will evolve and emerge from there. And now after The Disciple , which takes place in the Indian classical music scene, I want to work even more from sort of an inside-out manner, where it’s the themes, and it’s my concerns, and my worldview that comes first. But then again, there’s no one rule, right? It’s always going to be different for every story, for every film.

From one particular piece of the sky an unclassifiable signal sometimes recurred and my brain started to say: “You’ve seen something like this before, haven’t you? You’ve seen something like this before from this bit of the sky , haven’t you?” I got out previous recordings from that bit of sky. It often wasn’t there, but when it was, it was keeping its place amongst the stars.

I feel some sort of chemistry with the subject.…The bar for me is when it’s interesting enough that I would talk about it on my own time.

Writers we think are all wrong and want to read anyway come in two kinds: those who are good writers and bad thinkers — Christopher Hitchens, Norman Podhoretz, and Gore Vidal, each in his terribly different way, are instances of that — and those who may not be original stylists but who we admire for trying to be better thinkers than they were before, stumbling toward truth from a starting place very different from the one we happened to inherit. I disagree, for instance, with David Frum about almost everything, from Iraq to the legacy of Pierre Trudeau in our native Canada, but never doubt his integrity or desire to tell the truth about the world.

That’s the book I hope to get written sometime in the next ten years.

Writing about how much you love your wife is bad form, it seems like boasting

My very wise and politically savvy 17-year-old daughter says I get too emotional about political issues. I think she’s right. She knows that if she sees me race across a room, I have just read something about Trump. Turning ideas into feelings is the thing an essayist is supposed to do, but political punditry should probably be more detached.

I’ve been devoting a lot of my time in the last five years to musical theater. It’s been my new passion. I’d love to write a musical comedy about Eleanor of Aquitaine and the troubadours. I’ve always thought that would make a wonderful musical, about a troubadour who falls in love with a beautiful queen.

I still think the greatest gift you can give your kids is easy exposure to interesting things. Not compelling them to go see things, but making them feel that art and literature are just parts of the world