I've Walked Out Of Films. But For

Life Is About Luck And It's About Circumstances And Socioeconomic Conditions And All The Rest Of It, But You Know, You Can Also Make Choices. It's About Spirit And Generosity And All The Other Things, Too.

Some Deeply Untrusting Actors - The Kind That Need To Know Exactly What's What And Are Completely Insecure - Might Be Quite Good Within The Parameters Of A Certain Sort Of Acting.

Because Of The Way That I Work With The Actors And Because A Scene Is Not In This Rigid And Literal Interpretation Of Something Written, I Can Constantly Change Stuff, Which Means I Can Get A Scene Absolutely Perfect, And Then When We Go To Shoot It, The Requirements Of The Shot Mean It Would Be Useful To Extend The Dialogue Or Take A Line Out Or Swap Things Around. So The Camera Doesn't Serve The Action. The Action Serves The Camera. That's Important. So It Becomes More And More Organic And Integrated.

I Hate Period Films - And There Are Plenty Of Them - Where They Say, "let's Not Do Contemporary Language Because The Audience Won't Understand It;" "let's Not Make The Girls Wear Corsets, Because It's Not Sexy" And All That Sort Of Thing. Gradually It Disintegrates Into A No Man's Land: You Don't Really Believe It's A Period Scene And It Doesn't Feel Like It's Now Because It's Not Now. You Don't Feel It's Quite Real And You Don't Believe In It.

It's Important To Be True To The Events, But The Most Important Thing Is To Get To The Essence Of The Experience. Not To Be Bogged Down In An Academic Way By A Notion Of The Truth. First Of All, The Truth Is An Illusive And Spurious Concept.