For action to work, you need an awful lot of coverage. Because if you do a fight sequence, you really need to be able to creed the energy in the edit or augment the energy in the edit. So you… — James Watkins Copy Share Image
If you think about the traditional mafia stories we grew up on, it is always about the death of criminal organisations - things like… — James Watkins Copy Share Image
The opportunity to be able to tell long-form character stories is something that TV affords and is therefore a terrain that a lot of… — James Watkins Copy Share Image
We want 'McMafia' to be a tense gangster story but also a family story. It's a collusion of those two worlds. — James Watkins Copy Share Image
We think criminality is something that exists in somehow another world to us. But actually, there is an invisible criminal web in which we… — James Watkins Copy Share Image
As a screenwriter, you are so used to things going in directions that you wouldn't have taken, so to be able to say, 'This… — James Watkins Copy Share Image
Parents fear for their children. Absolutely, I think it's a deep and troubling theme to explore. — James Watkins Copy Share Image
There are a lot of horror films out there that are nasty, but what's nasty isn't necessarily scary. — James Watkins Copy Share Image
If you look at 'The Sopranos,' there's this notion of a criminal element on its last legs. — James Watkins Copy Share Image
If you look around in London, there is a lot of dirty money. People see it as a safe haven: a bolthole to rely… — James Watkins Copy Share Image
Television is ever more ambitious, more akin to the Victorian novel with multiple narratives and more discursive material. — James Watkins Copy Share Image
