The only lesson to extract from any civil war is that it's pointless and futile and ugly, and that there is nothing glamorous or heroic about it. There are heroes, but the causes are never heroic.

Look at it this way: if you write the novel of 'Cold Mountain,' it costs exactly the same to produce and market as a novel set in a room. If you make the film, the disparity of costs is huge.

Waiting is part of writing. When I write the word 'waiting' by hand it even looks like 'writing.'

I want to tell stories which require something of an audience, by way of thought, argument, emotion, because I'm more often in an audience than I am a maker of films, and that's the kind of movie I want to see.

I'm interested in stories which insist on a dog fails-to-eat-dog kind of world. I hate misanthropy, want to believe that there's a possibility that we might all be redeemed, that hope deferred makes the soul sick, that our humanity is fragile, funny, common, crazy, full of the longing for love, the failure of love.

There's a great tradition at the BFI of giving fellowships and I thought one of the great jobs that I'd have at the BFI would be to give them out on a regular basis.

Betrayals during war are childlike compared with our betrayals during peace.