Was there much debate about doing it that way?

I think people were sceptical and then when Dennis started to write it people just got behind it.

Once Dennis had written it, everyone just came on board and it just got better and better.

Its a difficult one because it just comes out of the blue.

Your directorial style is quite contrary to where everyone else is going.

Did you look at what everyone else was doing and go off in the other direction?

Was that a very conscious choice?

I dont think its really a reaction to television.

Those reactions are sort of four seconds out of forty minutes of filming.

It was a lot of dead time and a lot of tears and mum being on set.

We may have filmed the back of his head at some point.

A lot of dead time, though, a lot of dead time.

How did you approach amping that discussion up in the second season?

This is really Dennis writing that question of what do we do about population control?

Hes having the argument with himself I think, throughout this series.

Thats what this series is about.

That moral argument is what this series is about.

There were a lot of influences.

Its a different piece anyway.

Theres less humour in it but theres more emotion.

I dont look at other drama and go, how can we make it different?

Because it was funny, it was really important to me to cast people who could do comedy.

I think thats whats different.

Obviously, I wanted to make it colourful.

Iabsolutelythought about that, but actually it was just a way of trying to heighten the landscape.

So it felt in some ways that we were in the real world, but behind the scenes.

It was an attempt to see that real world in a very different way.

Then there were big influences from Polanskis early films and Kubricks one point perspective framing.

Its probably a combination of all those things.

About the music, how did you come to select Cristobal Tapia de Veer as a composer?

So it felt a bit like Id found a soul mate again that I could make music with.

I was determined to work with him on this.

Hes classically trained, he went to a conservatoire in Montreal and has a completely orthodox musical background.

When I met him he was a producer who made dance music.

Then this time he came over and it was a lot of analogue stuff.

Thats how it started.

Cristobal was like, youre making stuff from the seventies, weve got to use synths!

and thats how it started.

We shot episode two first, we shot episode one last.

Its an interesting question and something I was thinking about when we were cutting it.

No, I dont think so.

I think we havent changed anything really editorially.

I need to know if youve got any household pets?

[Laughter] Not anymore.

Series two seems to have more notable graphic violence than the first series.

Was that a conscious decision?

Im not sure it was more graphically violent.

More graphically violent than the eye torture?

So I think its all taken quite seriously, its just how much we show of it.

I dont think its more graphic in this one.

I dont think thats at the heart of the piece.

Can you tell us why you used the red title sequence in the first episode of series two?

Its quite instinctive, that sort of thing.

Where can you buy the yellow bag?

Theyre all made for us now.

The first one was doctored from a scuba diving shop, but theyre made for us now.

I said, Im going to work, and he said That bag… Its theUtopiabag!

Dennis Kelly and Jane Featherstone, who is the exec producer, have talked.

Dennis is not really involved in it.

Im intrigued as to what theyll make of it.

But it hasnt gone out there yet.

Is the story of the internet concluded at the end of this series?

Youll just have to watch and see.

Marc Munden, thank you very much!

Utopia series two continues tonight, Tuesday the 15th of July, at 10pm on Channel 4.