Yesterday director Danny Boyle interview: Robert Pattinson should be the next James Bond

There’s an elephant in the room and Danny Boyle is happy to address it. It’s the first time the director’s been on the junket cycle since stepping down from Bond 25 due to “creative differences” with the Broccoli estate and, if he’s had a tough day fielding questions about the reported ruffling of feathers, the welcoming grin on his face isn’t showing it.

“We just fell out about the way the script was going,” the 62-year-old Mancunian tells me, reaching for a slice of melon in a London hotel room. “I think that obviously, being as they are, they want it their way and normally a director would accept that and go along with it. But I have this relationship with my writer that’s quite intense, passionate and loyal and I would not change him – precisely because I really liked what he was doing. Our idea was good, but they didn’t think so.”

The writing partner he’s referring to is John Hodge, the Glaswegian with whom Boyle has collaborated six times since his debut, Shallow Grave, in 1994. He bats away any suggestion that their script could be retooled for a future Bond film (“I don’t think so,” he says, only a little defeated), but refuses to divulge what exactly it was that put the people at Eon Production’s noses out of joint. After all, they own his script and “could still use some” of his ideas (rumours of plot points ranged from a “modern-day Cold War” storyline to killing off Daniel Craig’s Bond).

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Shape Created with Sketch. 47 brilliant films that didn't receive a single Oscar nomination Show all 47 left Created with Sketch. right Created with Sketch. Shape Created with Sketch. 47 brilliant films that didn't receive a single Oscar nomination 1/47 American Psycho (2000) Starring future Oscar-winner Christian Bale, Mary Harron’s adaptation of the Bret Easton Ellis novel – in which the Vice star plays the psychopathic Patrick Bateman - didn’t receive a single nomination. Rex Features 2/47 Before Sunrise (1995) While the final two chapters of Richard Linklater’s Before… trilogy earned screenplay nominations, the film that introduced the world to future married couple Jesse (Ethan Hawke) and Celine (Julie Delpy) was criminally overlooked. Columbia Pictures 3/47 The Big Heat (1953) Fritz Lang had a number of films overlooked by the Academy; this noir, starring Glenn Ford, Lee Marvin and and Gloria Grahame, was one of them. Columbia Pictures 4/47 The Big Lebowski (1988) The Academy’s generosity to the Coen brothers peaked when No Country for Old Men beat There Will Be Blood in one of the ceremony’s closest Best Picture races of all time. It remains surprising that one of their few films to evade any nominations is this endlessly quotable mistaken identity comedy starring Jeff Bridges as The Dude. PolyGram Filmed Entertainment 5/47 Blow Out (1981) Brian De Palma doesn’t exactly make films in the hope of winning award, but his political thriller - based on Michelangelo Antonioni’s Blow Up – would have deserved any Oscar it was nominated for. Filmways Pictures 6/47 Breathless (1960) Breathless' failure to receive a nomination is proof that the Oscars can’t be trusted. Despite being one of the most studied films in the world, Jean Luc-Godard’s French masterpiece has an Academy Award tally of zero. Films Around The World 7/47 Bringing Up Baby (1938) The Academy rewarded many notable screwball comedies, though this Howard Hawks-directed standout starring Cary Grant and Katharine Hepburn - who’d go on to hold the record for most wins - wasn't one of them. Courtesy of BFI 8/47 Don't Look Now (1973) Nicolas Roeg, who directed this Venice-set chiller, is one of the most unfairly overlooked directors in Oscars history. Rex Features 9/47 Donnie Darko (2004) Richard Kelly’s science-fiction mind-bender, which made a star of Jake Gyllenhaal, was a festival favourite upon its debut in 2004. Many expected a screenplay nomination to manifest. Rex Features 10/47 The Good, the Bad and the Ugly (1966) It wouldn’t be until the 1990s that western films found favour with the Academy. It was ironically thanks to Unforgiven, a film directed by Clint Eastwood whose career flourished after starring in this Sergio Leone film that many consider to be the genre’s peak. 11/47 La haine (1995) Mathieu Kassovitz’s black-and-white drama – translated in English as Hate – follows three young friends and their struggles living in the suburbs of Paris. 12/47 Halloween (1978) The Academy may not be frothing at the mouth to nominate horror films, but do have previous (see: The Exorcist and The Silence of the Lamb), which makes the absence of John Carpenter’s influential Halloween a glaring oversight. Aquarius Releasing 13/47 Harold and Maude (1971) This offbeat romantic drama was a critical and commercial flop at the time of release, which probably accounts for its lack of Oscar nominations. Today, though, it’s cult following ensures it remains in good favour with film fans. Paramount Pictures 14/47 Heat (1995) On paper, the big screen union of Robert De Niro and Al Pacino in Michael Mann’s cop drama was a shoo-in for awards, but no Oscar nominations manifested. Warner Bros 15/47 His Girl Friday (1940) Yet another Howard Hawks screwball comedy starring Cary Grant that criminally failed to secure a single Oscar nomination. L/Columbia/Koba/Rex/Shutterstock 16/47 Insomnia (2002) While falling short of Christopher Nolan’s best, modest drama Insomnia – made years before Batman Begins – had enough strong performances (Al Pacino, Robin Wiliams, Hilary Swank) to warrant acting nominations. Alas, it received none. Warner Bros Pictures 17/47 Local Hero (1983) Bill Forsyth’s beloved comedy-drama follows the mishaps of an American man sent to buy up a Scottish village where the oil company he works for wants to build a refinery. Forsyth won the Bafta for Best Director, but the film received no such love from the Academy. 20th Century Fox 18/47 M (1931) You’d be mistaken for thinking the “M” stands for “masterpiece” in Fritz Lang’s German drama that follows the manhunt for a serial killer - not that the Academy agreed. 20th Century Fox 19/47 A Man Escaped (1956) Robert Bresson’s adaptation of André Devigny’s memoirs charts the French Resistance member’s time as prisoner of the Germans during World War II, and is even more enthralling considering Bresson himself was held captive years before. Gaumont Film Company 20/47 Margaret (2011) Kenneth Lonergan would go on to win an Oscar for Manchester but he Sea, but Margaret - his three-hour plus drama featuring a searing performance from Anna Paquin - failed to secure a single nomination. Fox Searchlight Pictures 21/47 In the Mood for Love (2000) Wong Kar-wai set the benchmark for romance in film with his acclaimed Hong Kong drama following a man and woman (Tony Leung and Maggie Cheung) who develop feelings for one another after suspecting their respective spouses of having an affair together. defd Deutscher Fernsehdienst 22/47 The King of Comedy (1982) It may have taken him decades to win an Oscar, but the Academy has rarely balked at nominating Martin Scorsese films – especially for films starring Robert De Niro. The King of Comedy was an exception. 20th Century Fox 23/47 The Long Goodbye (1973) Robert Altman’s superior thriller stars Elliott Gould as Raymond Chandler’s private investigator Philip Marlowe in one of the director’s most entertaining films. The director would go on to be the recipient of the Honorary Award in 2006. 24/47 The Man With Two Brains (1983) He may have hosted several times, but Steve Martin has never been nominated for an Oscar. One film he deserved recognition for was Carl Reiner's 1983 sci-fi comedy, The Man with Two Brains. Warner Bros. 25/47 A Matter of Life and Death (1946) The Academy Film Archive may have preserved A Matter of Life and Death in 1999, but voters failed to recognise the Powell & Pressburger’s fantasy-romance at the time of its release in 1946. Eagle-Lion Films 26/47 Mean Streets (1973) It may not be credited as his debut, but Mean Streets is very much the first true Martin Scorsese film. The director would go on to win a belated Oscar for The Departed in 2007, but he’d have to wait until 1975 for his first nomination (Alice Doesn’t Live Here Anymore). Warner Bros 27/47 Melancholia (2011) No Lars von Trier film has ever been nominated for Best Picture, though Dancer in the Dark came close (it settled for a Best Original Song nomination). He came close with Melancholia, but ultimately, the drama didn't get Canal+ 28/47 Miller's Crossing (1990) Despite being revered as a Coen brothers favourite, not to mention its notable performances from Gabriel Byrne and Albert Finney, Miller’s Crossing is one of few Coen brother films not to receive a single Oscar nomination. 20th Century Fox 29/47 Once Upon a Time in America (1984) Though it's by no means a masterpiece, it’s staggering to think that Sergio Leone’s gangster epic - starring Robert De Niro and Joe Pesci - didn’t acquire any Oscar nominations (the film's music was disqualified from consideration after Warner Bros accidentally omitted the composer's name from the opening credits when trimming the film’s lengthy running time for its American release). Warner Bros 30/47 Paterson (2016) Critics assumed Jim Jarmusch’s Paterson would have been a shoo-in for awards recognition - most notably in the Best Actor category, thanks to a quietly fantastic performance from Adam Driver - but no such luck. Amazon Studios 31/47 Paths of Glory (1957) Stanley Kubrick never won Best Director despite being nominated four times. One of his films that didn’t make the Oscars cut in any category was his black-and-white anti-war film, Paths of Glory. United Artists 32/47 Play Misty for Me (1971) Clint Eastwood would go onto become something of an Oscar darling thanks to Unforgiven, Million Dollar Baby and Mystic River, but his directorial debut was ignored by the Academy. Univeral Pictures/Courtesy of Getty Images 33/47 Reservoir Dogs (1992) Reservoir Dogs may not touch Quentin Tarantino’s best, but it remains a surprise that the filmmaker’s debut didn’t get recognised in the screenplay category, at least. Miramax Films 34/47 The Rider (2018) Of all the 2018 films to be snubbed at this year’s Oscars, Chloé Zhao’s drama - which stars a real-life rodeo cowboy and his family - smacks as the most unfair. Sony Pictures Classics 35/47 The Searchers (1956) The role of Civil War veteran Ethan Edwards might be considered John Wayne’s best role, but the Academy didn’t agree: he would win his sole Oscar for True Grit in 1970. Warner Bros 36/47 The Shining (1980) Another Kubrick film that was completely ignored by the Academy is the director’s Stephen King adaptation, The Shining. Today, it’s considered one of his finest works as well as being one of the most revered horror films of all time. Warner Bros 37/47 The Shop Around the Corner (1953) It may have endured as one of the best loved romcoms of all time, but it has zero Oscar nominations to its name. Metro-Goldwyn-Mayer 38/47 Still Walking (2008) Japanese director Hirokazo Kore-eda's portrait of a family over roughly 24 hours as they commemorate the death of the eldest son was a glaring oversight by the Academy. IFC Films 39/47 Swingers Before he became Disney's go to, Jon Favreau (Iron Man, The Jungle Book and the forthcoming live-action Lion King) wrote this independent film about the lives of single, unemployed actors living in Hollywood, California during the 1990s swing revival. Rex Features 40/47 This Is England (2006 The 2007 ceremony would have been far better had Shane Meadows' coming-of-drama been in contention for awards. Optimum Releasing 41/47 Three Kings (1999) The Academy deemed Silver Linings Playbook and American Hustle worthy of nominations, but not David O Russell’s Three Kings, which remains one of his greatest films to this day. Warner Bros Pictures 42/47 Tokyo Story (1953) Tokyo Story is deemed Japanese filmmaker Yasujirō Ozu's masterpiece and was named Sight & Sound's best film of all time in 2012. Rex Features 43/47 Touch of Evil (1958) Orson Welles' classic noir wasn't as well loved at the time of release as it is today. BFI 44/47 Tyrannosaur (2011) Olivia Colman may be in contention for Best Actress at this year’s ceremony, but the fact she failed to earn a nomination (or Bafta, for that matter) for her role in Paddy Considine’s hard-hitting drama Tyrannosaur is one of the biggest oversights in awards history. StudioCanal UK 45/47 Walkabout (1971) Another exceptional achievement in filmmaking from Nicolas Roeg that somehow failed to receive any Oscar nominations. 46/47 You Were Never Really Here (2018) Notch it down to bad timing, but Lynne Ramsay’s You Were Never Really Here - starring Joaquin Phoenix - is a sensational piece of work worthy of reward. Amazon Studio 47/47 Zodiac (2007) Three years later, David Fincher would go head-to-head with The King Speech's Tom Hooper for The Social Network. In truth, serial killer drama Zodiac is every bit as good as the Facebook drama. Warner Bros Pictures 1/47 American Psycho (2000) Starring future Oscar-winner Christian Bale, Mary Harron’s adaptation of the Bret Easton Ellis novel – in which the Vice star plays the psychopathic Patrick Bateman - didn’t receive a single nomination. Rex Features 2/47 Before Sunrise (1995) While the final two chapters of Richard Linklater’s Before… trilogy earned screenplay nominations, the film that introduced the world to future married couple Jesse (Ethan Hawke) and Celine (Julie Delpy) was criminally overlooked. Columbia Pictures 3/47 The Big Heat (1953) Fritz Lang had a number of films overlooked by the Academy; this noir, starring Glenn Ford, Lee Marvin and and Gloria Grahame, was one of them. Columbia Pictures 4/47 The Big Lebowski (1988) The Academy’s generosity to the Coen brothers peaked when No Country for Old Men beat There Will Be Blood in one of the ceremony’s closest Best Picture races of all time. It remains surprising that one of their few films to evade any nominations is this endlessly quotable mistaken identity comedy starring Jeff Bridges as The Dude. PolyGram Filmed Entertainment 5/47 Blow Out (1981) Brian De Palma doesn’t exactly make films in the hope of winning award, but his political thriller - based on Michelangelo Antonioni’s Blow Up – would have deserved any Oscar it was nominated for. Filmways Pictures 6/47 Breathless (1960) Breathless' failure to receive a nomination is proof that the Oscars can’t be trusted. Despite being one of the most studied films in the world, Jean Luc-Godard’s French masterpiece has an Academy Award tally of zero. Films Around The World 7/47 Bringing Up Baby (1938) The Academy rewarded many notable screwball comedies, though this Howard Hawks-directed standout starring Cary Grant and Katharine Hepburn - who’d go on to hold the record for most wins - wasn't one of them. Courtesy of BFI 8/47 Don't Look Now (1973) Nicolas Roeg, who directed this Venice-set chiller, is one of the most unfairly overlooked directors in Oscars history. Rex Features 9/47 Donnie Darko (2004) Richard Kelly’s science-fiction mind-bender, which made a star of Jake Gyllenhaal, was a festival favourite upon its debut in 2004. Many expected a screenplay nomination to manifest. Rex Features 10/47 The Good, the Bad and the Ugly (1966) It wouldn’t be until the 1990s that western films found favour with the Academy. It was ironically thanks to Unforgiven, a film directed by Clint Eastwood whose career flourished after starring in this Sergio Leone film that many consider to be the genre’s peak. 11/47 La haine (1995) Mathieu Kassovitz’s black-and-white drama – translated in English as Hate – follows three young friends and their struggles living in the suburbs of Paris. 12/47 Halloween (1978) The Academy may not be frothing at the mouth to nominate horror films, but do have previous (see: The Exorcist and The Silence of the Lamb), which makes the absence of John Carpenter’s influential Halloween a glaring oversight. Aquarius Releasing 13/47 Harold and Maude (1971) This offbeat romantic drama was a critical and commercial flop at the time of release, which probably accounts for its lack of Oscar nominations. Today, though, it’s cult following ensures it remains in good favour with film fans. Paramount Pictures 14/47 Heat (1995) On paper, the big screen union of Robert De Niro and Al Pacino in Michael Mann’s cop drama was a shoo-in for awards, but no Oscar nominations manifested. Warner Bros 15/47 His Girl Friday (1940) Yet another Howard Hawks screwball comedy starring Cary Grant that criminally failed to secure a single Oscar nomination. L/Columbia/Koba/Rex/Shutterstock 16/47 Insomnia (2002) While falling short of Christopher Nolan’s best, modest drama Insomnia – made years before Batman Begins – had enough strong performances (Al Pacino, Robin Wiliams, Hilary Swank) to warrant acting nominations. Alas, it received none. Warner Bros Pictures 17/47 Local Hero (1983) Bill Forsyth’s beloved comedy-drama follows the mishaps of an American man sent to buy up a Scottish village where the oil company he works for wants to build a refinery. Forsyth won the Bafta for Best Director, but the film received no such love from the Academy. 20th Century Fox 18/47 M (1931) You’d be mistaken for thinking the “M” stands for “masterpiece” in Fritz Lang’s German drama that follows the manhunt for a serial killer - not that the Academy agreed. 20th Century Fox 19/47 A Man Escaped (1956) Robert Bresson’s adaptation of André Devigny’s memoirs charts the French Resistance member’s time as prisoner of the Germans during World War II, and is even more enthralling considering Bresson himself was held captive years before. Gaumont Film Company 20/47 Margaret (2011) Kenneth Lonergan would go on to win an Oscar for Manchester but he Sea, but Margaret - his three-hour plus drama featuring a searing performance from Anna Paquin - failed to secure a single nomination. Fox Searchlight Pictures 21/47 In the Mood for Love (2000) Wong Kar-wai set the benchmark for romance in film with his acclaimed Hong Kong drama following a man and woman (Tony Leung and Maggie Cheung) who develop feelings for one another after suspecting their respective spouses of having an affair together. defd Deutscher Fernsehdienst 22/47 The King of Comedy (1982) It may have taken him decades to win an Oscar, but the Academy has rarely balked at nominating Martin Scorsese films – especially for films starring Robert De Niro. The King of Comedy was an exception. 20th Century Fox 23/47 The Long Goodbye (1973) Robert Altman’s superior thriller stars Elliott Gould as Raymond Chandler’s private investigator Philip Marlowe in one of the director’s most entertaining films. The director would go on to be the recipient of the Honorary Award in 2006. 24/47 The Man With Two Brains (1983) He may have hosted several times, but Steve Martin has never been nominated for an Oscar. One film he deserved recognition for was Carl Reiner's 1983 sci-fi comedy, The Man with Two Brains. Warner Bros. 25/47 A Matter of Life and Death (1946) The Academy Film Archive may have preserved A Matter of Life and Death in 1999, but voters failed to recognise the Powell & Pressburger’s fantasy-romance at the time of its release in 1946. Eagle-Lion Films 26/47 Mean Streets (1973) It may not be credited as his debut, but Mean Streets is very much the first true Martin Scorsese film. The director would go on to win a belated Oscar for The Departed in 2007, but he’d have to wait until 1975 for his first nomination (Alice Doesn’t Live Here Anymore). Warner Bros 27/47 Melancholia (2011) No Lars von Trier film has ever been nominated for Best Picture, though Dancer in the Dark came close (it settled for a Best Original Song nomination). He came close with Melancholia, but ultimately, the drama didn't get Canal+ 28/47 Miller's Crossing (1990) Despite being revered as a Coen brothers favourite, not to mention its notable performances from Gabriel Byrne and Albert Finney, Miller’s Crossing is one of few Coen brother films not to receive a single Oscar nomination. 20th Century Fox 29/47 Once Upon a Time in America (1984) Though it's by no means a masterpiece, it’s staggering to think that Sergio Leone’s gangster epic - starring Robert De Niro and Joe Pesci - didn’t acquire any Oscar nominations (the film's music was disqualified from consideration after Warner Bros accidentally omitted the composer's name from the opening credits when trimming the film’s lengthy running time for its American release). Warner Bros 30/47 Paterson (2016) Critics assumed Jim Jarmusch’s Paterson would have been a shoo-in for awards recognition - most notably in the Best Actor category, thanks to a quietly fantastic performance from Adam Driver - but no such luck. Amazon Studios 31/47 Paths of Glory (1957) Stanley Kubrick never won Best Director despite being nominated four times. One of his films that didn’t make the Oscars cut in any category was his black-and-white anti-war film, Paths of Glory. United Artists 32/47 Play Misty for Me (1971) Clint Eastwood would go onto become something of an Oscar darling thanks to Unforgiven, Million Dollar Baby and Mystic River, but his directorial debut was ignored by the Academy. Univeral Pictures/Courtesy of Getty Images 33/47 Reservoir Dogs (1992) Reservoir Dogs may not touch Quentin Tarantino’s best, but it remains a surprise that the filmmaker’s debut didn’t get recognised in the screenplay category, at least. Miramax Films 34/47 The Rider (2018) Of all the 2018 films to be snubbed at this year’s Oscars, Chloé Zhao’s drama - which stars a real-life rodeo cowboy and his family - smacks as the most unfair. Sony Pictures Classics 35/47 The Searchers (1956) The role of Civil War veteran Ethan Edwards might be considered John Wayne’s best role, but the Academy didn’t agree: he would win his sole Oscar for True Grit in 1970. Warner Bros 36/47 The Shining (1980) Another Kubrick film that was completely ignored by the Academy is the director’s Stephen King adaptation, The Shining. Today, it’s considered one of his finest works as well as being one of the most revered horror films of all time. Warner Bros 37/47 The Shop Around the Corner (1953) It may have endured as one of the best loved romcoms of all time, but it has zero Oscar nominations to its name. Metro-Goldwyn-Mayer 38/47 Still Walking (2008) Japanese director Hirokazo Kore-eda's portrait of a family over roughly 24 hours as they commemorate the death of the eldest son was a glaring oversight by the Academy. IFC Films 39/47 Swingers Before he became Disney's go to, Jon Favreau (Iron Man, The Jungle Book and the forthcoming live-action Lion King) wrote this independent film about the lives of single, unemployed actors living in Hollywood, California during the 1990s swing revival. Rex Features 40/47 This Is England (2006 The 2007 ceremony would have been far better had Shane Meadows' coming-of-drama been in contention for awards. Optimum Releasing 41/47 Three Kings (1999) The Academy deemed Silver Linings Playbook and American Hustle worthy of nominations, but not David O Russell’s Three Kings, which remains one of his greatest films to this day. Warner Bros Pictures 42/47 Tokyo Story (1953) Tokyo Story is deemed Japanese filmmaker Yasujirō Ozu's masterpiece and was named Sight & Sound's best film of all time in 2012. Rex Features 43/47 Touch of Evil (1958) Orson Welles' classic noir wasn't as well loved at the time of release as it is today. BFI 44/47 Tyrannosaur (2011) Olivia Colman may be in contention for Best Actress at this year’s ceremony, but the fact she failed to earn a nomination (or Bafta, for that matter) for her role in Paddy Considine’s hard-hitting drama Tyrannosaur is one of the biggest oversights in awards history. StudioCanal UK 45/47 Walkabout (1971) Another exceptional achievement in filmmaking from Nicolas Roeg that somehow failed to receive any Oscar nominations. 46/47 You Were Never Really Here (2018) Notch it down to bad timing, but Lynne Ramsay’s You Were Never Really Here - starring Joaquin Phoenix - is a sensational piece of work worthy of reward. Amazon Studio 47/47 Zodiac (2007) Three years later, David Fincher would go head-to-head with The King Speech's Tom Hooper for The Social Network. In truth, serial killer drama Zodiac is every bit as good as the Facebook drama. Warner Bros Pictures

There’s no denying that James Bond would have assimilated into Boyle’s pantheon of heroic, if problematic, male characters – and yes, his heroes are all male – with dignified ease. Whether portraying drug addicts in Scotland (Trainspotting), poverty-stricken children in Mumbai (Slumdog Millionaire) or a climber quite literally stuck between a rock and a hard place (127 Hours), Boyle believes his films – despite their differing genres – are about the same thing: “people embarking on a heroic quest to overcome insurmountable odds”.

While Ian Fleming’s spy won’t be added to that particular list, Jack Malick will. He’s the lead character played by Himish Patel, previously best known as EastEnders’ Tamwar Masood, in Boyle’s new film, Yesterday. With a script written by Richard Curtis, Yesterday asks the audience to imagine a world in which The Beatles are completely eradicated from the memory of everyone except a twentysomething aspiring singer-songwriter.

I'm proud of what I've done but I don't think I'm a good director Danny Boyle

As expected, Boyle is a big Beatles fans and calls Yesterday “a perfectly workable and decent film with the most extraordinary music in the world”. Among the 17 songs featured are White Album opener “Back in the USSR”, George Harrison’s “Here Comes the Sun” and an eyebrow-raising rendition of “Help” – all of which had to be approved by Paul McCartney and Ringo Starr. Unlike other films featuring the group’s music (Nowhere Boy, Across the Universe), Yesterday asked the surviving members to curb any ego they might still have after 50 years.

“Paul and Ringo gave their approval to a film that’s about them disappearing,” Boyle says, laughing. “That’s their sense of humour! John would have loved that.”

In terms of its central debate – is it morally reprehensible for Jack to pass off the Beatles’ songs as his own, or is it his cultural obligation to “rescue” them? – Boyle thinks the latter and says he’d be happy to claim ownership of other people’s films should the memory of his influences disappear overnight.

“I’d have no hesitation,“ he says. “The one I’d do it with is Apocalypse Now because I could shoot that quite faithfully if I had the resources – even if I had no reference points.”

I wonder if he could do the job justice. In past interviews, he’s been doubtful of his kinetic directorial style, far more than critics tend to be. Boyle is a filmmaker who, save for a few missteps (A Life Less Ordinary, for instance), has been on the right side of reviews. I ask him the question straight – doesn’t he think he’s a good director?

“No. I don’t really think I am. I’m very proud of what I've done, and I’m not an eejit, but I know a good one when I see one.” Nicolas Roeg and Francis Ford Coppola are among his favourites.

He looks at me through his rectangular spectacles. He’s easy-going and talkative, frequently breaks into high-pitched chuckles and, as his films suggest, he loves an F-bomb.

Boyle’s career has showed no signs of wavering after the one-two combination of Shallow Grave and Trainspotting – both of which propelled him and Ewan McGregor to bigger things in the mid-Nineties. In the two decades that followed, he directed zombie horror 28 Days Later (2002) – a third chapter, he reveals, is in the works with writer Alex Garland – made the science-fiction thriller Sunshine (2007), won a Best Director Oscar for Slumdog Millionaire (2008) and released the trippy heist film Trance (2013). In 2015, he made the biographical drama Steve Jobs, starring Michael Fassbender as the Apple co-founder. Despite decent reviews and two Oscar nominations, it unfairly ranks as one of his bigger box office disappointments.

Out of those films, only one has featured a female character who stands toe-to-toe with the male lead (Rosario Dawson in Trance for those who don’t remember). This fact isn’t lost on Boyle, even if it’s not a deficit he’ll be evening out anytime soon.

“You feel a bit... you obviously have a concern, especially now – and it’s a growing concern – where you don’t want to [make a female-led film as a male director], because you’d feel like an imposter. I certainly respond to that. My favourite shows at the moment are Fleabag and Gentleman Jack. If Suranne Jones doesn’t win every f***ing prize for Gentleman Jack, I don’t know what’s going on.”

Back to the point at hand. Does he feel under heat to make a film with a woman in the lead role? I’m sure Suranne Jones would love to star in one of his films.

“Only from my daughters,” he says. “But I’m planning another film at the moment, which is about two men and they’re the only people in the movie.” He gives a knowing eye-roll. “I know, I know, I’m getting further and further away from it.”

It doesn’t seem like we would have seen a female Bond under Boyle’s watch, either. Now 10 months has separated him from that experience, it’s intriguing to wonder, should Daniel Craig have stepped down from the role and Boyle was asked to throw a name into the ring, whom he would have selected. A name immediately springs to mind.

“I watched High Life, the Claire Denis film, a couple of weeks ago and thought ‘F***ing hell, Robert Pattinson would make a great Bond.’ He really would, He’s matured. He’s such a man now. Then when I came out of the cinema, it had literally just been announced that he was the new Batman.”

As it stands, Craig is staying for the outing that’ll be shot by True Detective and Beasts of No Nation director Cary Joji Fukunaga, as are some of the crew Boyle assembled for the spy’s 25th outing.

“I got a message off Cary and he’s kept some people on, which I’m very delighted about. I wished him all the best. That’s all you can do, really.”

Boyle’s Bond movie is forever cast away in the annals of films that’ll never get made (see also: Orson Welles’s Heart of Darkness, David Cronenberg’s Frankenstein or that Gladiator sequel written by Nick Cave) and it’s hard not to be disappointed. From Trainspotting to the London Olympics ceremony, Boyle has proved a master at modulating mood and perspective. While it may take a while for fans to move past the “what if” factor of the situation, the director is over it.

“On a movie of that scale, you have to separate. Otherwise, it’ll be carnage. In the end, it wasn’t hard to let go because I always had my principles.”

Yesterday is out in UK cinemas on 28 June