My dad [the Hollywood director Ron Howard] and I watched Nosedive together, just the two of us. Afterwards, he shot up and started backing out the door, blurting, “Wow, that was excellent-excellent-excellent! I’ve gotta run, I’ll see you later!” And he then told me later that he was having a panic attack! He found it so unnerving and uncomfortable.

I also don’t tend to have ideas that last beyond an hour.

The whole thing felt over-cooked. We’d spent so much time working out the logic of how it all worked that I’d slightly lost sight of things. It was upsetting, but mainly because I felt I’d squandered time. When you’re a writer, there’s always a voice in your head going, “You’re shit.” And this time, that voice seemed to have won.

The interesting thing about Charlie’s work on Black Mirror is that he’s completely obsessed with all the tech and high-concept stuff. It’s pretty much all he talks about and it appears, on the surface, to be all he’s interested in. And yet he writes these incredibly emotional, and tender, portraits of human fallibility. He seems to do that without

Davis (actor): When my friends and I watched the first ever episode – “the pig fucking one” as it is colloquially known – we just sat in awe at what we were seeing. It felt like the first time I saw Twin Peaks, where the rules and expectations of what a television show was and could be were exploded. When I ended up getting the offer to be a part o

Then when you begin to realise what he has had to do to get ‘respect’, to be the hero he can never be in real life, you see the monster and our sympathies massively shift. But it’s a real credit to Jesse’s talent that some people still feel sorry for him during the final sequences!

Maybe it’s a writer thing, but it’s all too easy to cancel out any positive responses and focus on the negatives. A critical thing will stick in your head more, either because you think it’s so completely wrong that it’s irritating, or you agree with an aspect of it, which is almost more irritating. So now, I’m more prone to just shrug.

William Bridges: I know who’s responsible, but I think it’s more fun to keep it a mystery. It’s clearly a moment anyone who’s ever been a teenage boy relates to, whether they admit it in a published book or not.

Annabel Jones: This film plays out almost like a serial-killer story, or a conventional detective whodunit mini-series, with gradual reveals of what’s going on. That was new for us. There were lots of world layers going on, and the plotting of all those things is quite complex. We’d done a bit of that in The National Anthem, but this was on a bigge