My Job Apart From Anything Else Is

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.

A Lot Of The Reasons That I'm Resistant To Making Films In The U.s. Have Nothing To Do With Not Doing A Film In Hollywood, But Rather To Do With What I'm Committed To Working On In The U.k. I Feel Very Committed To The British Film Industry And Infrastructure.

The Delineation Between The Actor And His Part Is A Practical Matter. When The Camera Runs, You Want The Actor To Be The Character.

The Way An Actor Is Trained Doesn't Ultimately Have Much Bearing On My Work. I'm Interested In The Actor As Artist.

But Films Should Be Voyeuristic. What Else Is A Film If You’re Not Snooping Into Somebody Else’s Lives?