The far right was on the march in the 1930s, and we defeated the fascists through a great united working-class effort. That sense of unity and strength is what gave people confidence to change things.

I don't think films about working class people are sad at all; I think they're funny and lively and invigorating and warm and generous and full of good things.

We have to defend the migrant workers and give them our support and demand that they have the rights that workers here have from day one, but absolutely hate the system that forces people to leave their country, leave their homes, leave their families, to go somewhere else to be exploited.

A journalist uses the most precise words he or she can. An artist does the same sort of thing. You gather material about a particular subject, you refine it as best you can.

I challenge the idea that films about rich people are escapism and films about working class people are dour and sad. I find the opposite's the case.

If you're a politician, you can see there might be times when, to secure the greater good, you have to take a backwards step. That is a matter of tactics.

Most cities are eclectic. There's a bit of medieval, Georgian, some Victorian and some 20th century. That's fine. Bath is different because it was built within 100 years or less. It has a homogeneity.

Bath was dusty and a little shabby when we moved here. It did look its age and you felt its history in its streets and buildings and little alleyways. The sense of the past was palpable. There were some bad modern buildings but there was a patina of age.

There has been no more principled opposition to racism than Jeremy Corbyn: he was getting arrested for protesting against Apartheid when the rest of them were doing deals and calling Nelson Mandela a terrorist.