To be honest, it’s always different. I never know what I’m going to do when I get a new project! Sometimes I’m going to get a bunch of trace paper, I’ll make a silhouette and then just go through variations until I hit something nice. Maybe we put those sketches up on the wall. Or maybe I’m going to print the full-scale silhouette of this thing, or I’ll do it in 3D modeling… And on and on. The thing that’s consistent when I am in creation mode is that I have to be pretty particular about my schedule. I have to stay spiritually in tune. Exercise is really important for me because truth be told, I can have a lot of nervous energy that comes out at the beginning of any project, like, I have no idea how I’m gonna do this one! I don’t know what the process is going to be for this one, I don’t know how long it’s gonna take.

When I was this young assistant at the University of Groningen my responsibility was for four beds, or rather the patients in four beds. That was all I had to do. And, one of these patients was a young man, 22 years old, who slowly and miserably died from renal failure. He became blind, he vomited, and it was a miserable death. And I, as a very, very young physician, had to tell his mother, in a black dress and a little white cap like the farmers have, that her only son was going to die. I couldn’t do a damn thing about it. So, I began to think, “If I could just every day remove as much urea as this boy creates, which is about 20 grams, then the boy could live.” Well, he died, but I began to work on that.

Thank you. Yeah, I don’t write collections. Maybe someday that will happen, but Mercury is based on the Goldberg Variations and so it’s riffing off of that and that Baroque mode of theme and variations. And it is very much structured.

It’s like a kind of boiling kettle, you know: you don’t want to make your tea until the kettle’s boiled and it’s the same thing, you don’t want to make your movie until you’re boiling with something you need to say. And theater, for instance, has always given me the opportunity to wait for that moment. It’s the same with film actually — film has given me an opportunity to wait until I’m ready to do a play. One fuels the other. Even the decision to write and make 1917 , weirdly, came out of doing the Bond movies.

One by one the more vigorous sports and exacting games fall away. Exceptional exertions are purchased only by a more pronounced and more prolonged fatigue. Muscles may relax, and feet and hands slow down; the nerve of youth and manhood may become less trusty. But painting is a friend who makes no undue demands, excites to no exhausting pursuits, keeps faithful pace even with feeble steps, and holds her canvas as a screen between us and the envious eyes of Time or the surly advance of Decrepitude. Happy are the painters, for they shall not be lonely.

Come on now all you young men, all over the world. You are needed more than ever now to fill the gap of a generation shorn by the War. You have not an hour to lose. You must take your places in life's fighting line. Twenty to twenty-five! These are the years! Don't be content with things as they are. 'The earth is yours and the fulness thereof'. Enter upon your inheritance, accept your responsibilities. Raise the glorious flags again, advance them upon the new enemies, who constantly gather upon the front of the human army, and have only to be assaulted to be overthrown. Don't take No for an answer. Never submit to failure.

But the years 1895 to 1900 which are the staple of this story exceed in vividness, variety and exertion anything I have known—except of course the opening months of the Great War. When I look back upon them I cannot but return my sincere thanks to the high gods for the gift of existence. All the days were good and each day better than the other. Ups and downs, risks and journeys, but always the sense of motion, and the illusion of hope.

When I think of the fate of poor old women, so many of whom have no one to look after them and nothing to live on at the end of their lives, I am glad to have had a hand in all that structure of pensions and insurance which no other country can rival and which is especially a help to them.

But in a flash there came across me a great project. The chine which the bridge spanned was full of young fir trees. Their slender tops reached to the level of the footway. 'Would it not' I asked myself 'be possible to leap on to one of them and slip down the pole-like stem, breaking off each tier of branches as one descended, until the fall was broken?' I looked at it. I computed it. I meditated. Meanwhile I climbed over the balustrade. My young pursuers stood wonder-struck at either end of the bridge. To plunge or not to plunge, that was the question! In a second I had plunged, throwing out my arms to embrace the summit of the fir tree. The argument was correct; the data were absolutely wrong. It was three days before I regained consciousness and more than three months before I crawled from my bed. The measured fall was 29 feet on to hard ground. But no doubt the branches helped.

The cultivation of a hobby and new forms of interest is therefore a policy of first importance to a public man. But this is not a business that can be undertaken in a day or swiftly improvised by a mere command of the will. The growth of alternative mental interests is a long process. The seeds must be carefully chosen; they must fall on good ground; they must be sedulously tended, if the vivifying fruits are to be at hand when needed. To be really happy and really safe, one ought to have at least two or three hobbies, and they must all be real.