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.

I believe there's only good cinema and bad cinema.

Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.

As soon as people enter a theater they must become moron consumers who must be fed information.

Maybe more than a teller, I am a story listener. I really enjoy listening to stories. I remember them and keep them in my mind. All of my films are a collection of small stories that have been told to me.

In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is.

I had intended to make another film, called Pocket Money, which was to be about children at a school. I was very much intrigued by the story [of Close Up] - it came into my dreams and I was very much influenced by it. So I called my producer and asked that we put aside Pocket Money and start something else, and he agreed.