Some people come up to be directors by coming through the camera department and there's not a lot of women in the camera department. The ones that are have to kind of prove they're one of the boys, I think. I don't want to get into trouble with generalisations but I think it's a fair observation.

I do notice that when I've been away and I come back to London. People look at you. People are ready to pick arguments.

So, you don't have laughs as a reference point any more, it becomes a bit of a science after that. And the last thing, you would love to be able to depend on a sense of spontaneity, but hours of waiting and then hours of repetition are not conducive to spontaneity so those are your obstacles. On the other hand it's a lot of fun. Plunging into a bit of physical comedy and abandoning all dignity, no one can really hurt you much after you much after that, once you've done it.

There's no point in it unless it's a story that you really want to tell. It's a nebulous job. Unless you're doing it well, you're not doing anything. And there are a few of those. It's perfectly possible to be a passenger on a film set because if somebody else has written it, you can make nothing of that role and that's exactly what bad directors do.

If you're playing someone who's got marital problems, you have to play someone who's trying not to have marital problems. So, you've got to get into the problem first.

People have the idea of missionaries as going out with the Bible and hitting natives with it. It's not really what they were doing. They were all doing something rather different.

One of my grandfathers, actually, having gone out there as a minister, decided he would better serve the people as a doctor. So at a very late age - at the age of 38 in fact - he changed course and decided to become a doctor.