Originally I'm A Big Pop-music Aficionado, That's

The Most Extraordinary Thing, You'd Be Given Permission For, And Then The Weirdest, Simplest Things, You Just Wouldn't Be Able To Obtain Permissions. And It Would Go On And On And On Forever And Ever, And There Was No Way To Know. You Have To Kind Of Approach It With An Open, Quite Optimistic Mind, No Matter What's Thrown At You, Because It Will Only Ever Result In Damaging The Film If You Let Any Kind Of Despondency Get To You.

You Use Elements Of Noir, But You Don't Want It To Be Too Noir-ish. You Don't Want It To Be Advertised As Though You're Asking People To Go And Watch An Updated Noir. I Don't Think They'll Go Do That. They Want To See A Modern Story.

Your First Film Is Always Your Best Film, In A Way. There's Something About Your First Film That You Never Ever Get Back To, But You Should Always Try. It's That Slight Sense Of Not Knowing What You're Doing, Because The Technical Skills You Learn - Especially If You Have A Film That Works, That Has Some Kind Of Success - Are Beguiling. The Temptation Is To Use Them Again, And They're Not Necessarily Good Storytelling Techniques.

Normally, I'm A Very Controlling Director. Directors Are Controlling. It's Part Of The Job, But There's Various Degrees Of It And The Constructs I Normally Work On Are Very Controlling Constructs.

I Find My Own Pain And Others' Difficult To Tolerate, So I Always Want To Try To Shift Things So They'll Be Better. But In Doing That, If I Am Coming From A Place Of Ego, I Often Cause Harm. So It's A Struggle For Me To Set My Ego Outside And Find A Softer And More Compassionate Way Of Approaching Things.