We don't look at each other [in the car], but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult.

I wasn't searching for a common denominator - I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.

My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.

I really haven't seen The Report in a long time. I don't have a copy, but I'll have to see it again. I think it would be good to put both these men next to each other.

There were years when Hitchcock was like a master to me, but now I think he's so artificial. I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality.

This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark. And it's something that we do - we bring out elements that we want to emphasise.

If we're not going to take full advantage of digital, then 35mm is a better medium. Especially for shooting dramas - I have no problem with 35mm.