Quotes from Morten Tyldum

You never know where your next movie is going to come from. You just have to fall in love with something because it's going to be taking up every moment of spare time in your life for about two years. You're going to be dreaming about it and thinking about it and becoming obsessed with it.

The most serious problem doing biography is the matter of time because you have to shape events into a narrative of two hours; you have to create a dramatic arc. That can be a challenge.

You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.

Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.

Making a movie is universal. Directing a movie is universal; it's a universal language.

Our film society back home is so different from here. Making a movie is universal. Directing a movie is universal; it's a universal language. It's just figuring things out and understanding the codes and how the system of Hollywood compares to that of Norway. We don't even have agents. There's no studio system, no managers.

You do not move forward by following convention. You celebrate those who are different, who are not burdened by 'normality.'

I left Norway after high school and moved to Manhattan and went to film school in Manhattan. That's when I really found out that this was my calling and what I wanted to do.

I'm from Norway, but I always felt like I'd grown up with British culture. We had everything from the BBC on our TV, so British drama seems very close to home.

I'm from Norway, but I always felt like I'd grown up with British culture.

I was shocked that I knew so little about Alan Turing. Then I started to read about him, and I got a little obsessed.

What you want, as a filmmaker, is to be obsessed with and fall in love with the material.

To me, Alan Turing was a mystery - it was sort of like something I needed to unravel. And he was also obsessed with puzzles. So I wanted to make the movie like a mystery, like a puzzle that you're piecing together.

I'm a sci-fi fan, but a lot of the sci-fi you're getting is the same. It's very stereotypical.

I didn't know anybody who was a filmmaker - there was no film industry where I grew up. I never knew what a director really did until I was in high school and I started reading up about it. I've always loved films, and I always felt like a storyteller.

If I did the structure and had this thing about a straight character, I would never have a sex scene to prove that he's heterosexual. If I have a gay character in a movie, I need to have a sex scene in it - just to prove that he's gay?

I wanted to make a movie that celebrates the outsider, the one who is different, the one who is not normal - and show how important that is.

The more shaded, flawed characters that are struggling, I think there's something very relatable about that.

I'm a Coen Brothers fan - especially their early work.

Seeing the first edit is the worst.