Quotes from Chris Chibnall

What I didn't want to come in with is 'Camelot' in all its pomp and glory. Instead we're looking at how you build a society, how you build a world that people believe in, and how hard it is.

The great thing about 'Camelot' is that it is an adult drama.

Honestly, I could talk to you for seven hours and not run out of great things to say about David Tennant.

Often as a writer, you get your first draft out, and then you look and think, 'Now, what have I got here.' You're really just throwing mud at the wall and then going, 'Oh, there's a pattern there.'

I think when you're writing anything you should never be thinking about hardcore genre fans.

So actually, for me, 'Doctor Who,' you want it to be the show with all the emotions and all the feels, really, and that you've had a good emotional workout, from laughter to tears to fear and excitement.

Broadchurch' is shot through with the fear of being a parent: what's the most horrific loss you can imagine and how could you go on living afterwards?

The mood of the country is set by its leaders and they are failing us by not setting a compassionate moral tone in a complex time.

I don't ever want to be gratuitous, for the sake of being gratuitous, but when it serves the stories and the characters, it's nice to be able to do that, realistically and with credibility. You don't want to do it for the sake of it, or shoe-horn it in. But, it's a good tool to have in the toolbox.

In an ideal world, 'Doctor Who' makes the whole nation eight years old, with that excitement and engagement and wide-eyedness.

You do your best to tell your own story, in the most specific way, and then you hope that that travels well, when it's done with heart and honesty.

My goal is always to leave you slightly wanting more.

I don't think any of the journalists in 'Broadchurch' are villainous. I think they're all trying to do their jobs under difficult circumstances.

It's a 'Doctor Who' budget. A BBC budget, although a very good one. But you know you can't do dinosaurs endlessly for 45 minutes, so there has to be a big 'other' story going on.

The north-west coast of America is that mixture of beauty and savagery, which I felt was very similar to the Dorset coast.

I think sometimes actors who have predominately done comedy get a little typecast by some people.

I think you can tell different types of stories within a 'Doctor Who' two-parter.

The papers feed the public interest but then the public interest demands more in the press and speculation can look like fact.

I think women were gradually becoming more independent - the feminist movement of the Sixties didn't just spring out of nowhere.

One of your jobs as a writer is to cut out the noise. All you have is your instincts and your process.

If you can do something exciting and unusual, you might as well give it a go.

I've come from theatre and you have different productions of a text in theatre. It's not unusual.

Broadchurch' was all about shades of grey, both in characters and storytelling, and I wanted to see that through to the end.

I'm not running away. But this is one corner of one country on one continent on one planet that's a corner of a galaxy that's a corner of a universe that is forever growing and shrinking and creating and destroying and never remaining the same for a single millisecond, and there is so much, so much, to see, Amy. Because it goes so fast. I'm not running away from things, I am running to them. Before they flare and fade forever.