Given The Choice Of Hollywood Or Poking

I Try And Create For The Audience Something That Relates To Real-life Experience. When You're Meeting Somebody For The First Time, All You Have To Go On Are Your Preconceptions And Your Stereotypes And Whatever Else, But Gradually As You Get To Know Them, They Change. They Become More Three-dimensional, And You Start To See Them In Layers.

People Have Been Very Resistant To Giving Me More Than The Standard Amount Of Money. So I Keep Making Films On A Similar Scale. Which Is Fine, But Also Frustrating.

As A General Habit And General Tendency, I Prefer Not To Bog A Piece Down With A Great Number Of Transitory, Contemporary References, Because In The End, I'm Concerned, Not In An Abstract Way, But An Actual Way, With Creating A World Which Has A Universality To It - Even Though What Goes On Is Made Up Of Texture And Detail, Contemporary Detail.

If I'm Ever Working On A Set And Anyone Talks About A Master Shot, I Say There Is No Master Shot. Before I Even Went To Film School, I Learned About Movies By Being In A British Feature Film, Where Everything Was Shot Master Shot, Mid-shot, Close-up. But I Reject The Idea Of A Master Shot. You Don't Shoot Everything Mechanically; You Find Imaginative Ways That Serve The Action.

In The First Place, I'm Pretty Thorough About Whom I Choose. I Instinctively Look For The Kind Of Actor Who Is Going To Be Trusting. There Are All Kinds Of Insecure People Out There Called Actors.