"I remember the emotion," he says, "of seeing my favourite actor at the time [Harrison Ford] doing a new character." But, crucially, it was an adult character; a sci-fi film, like the comics he'd come to love, that wasn't pitching down.
When, after he came out of the cinema, he decided that, actually, it was the only film he'd ever seen that pretty much matched what he'd already played in his head (Blade Runner: The Teenage Villeneuve Imagination Cut).
"In the screenwriting process, or in the edit, I like to use mathematics to move forward if there's a problem." And so, if he's having problems with "the trajectory of a character", or "how to express the rhythm", he will think in terms of an equation to solve, and as with all equations, how each side must balance perfectly, the first matching the last, every single piece mattering, no matter the direction you take; a circle that is already complete.
"That's one of the reasons it took so long, ensuring if someone was watching for a second or third time, they would not be cheated.
Because it had Jake and Mélanie Laurent in it, the distributors thought it was going to be a romcom." Wrong.