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.

If you take a loud pride in anything, people will rightly shoot you down.

The most important thing about Olympics, of course, is the games and not the opening ceremony. It's weird the way it gets inverted sometimes.

The perfect equation is form equals content. The style of the film reflects the story, and that's what you're always aiming for. You're not always necessarily successful at it, but that's the ambition that you're trying to do.

I mean suspense, twists are almost impossible these days.

Events in the present can trigger quite a young part of ourselves. If we don't take responsibility and start looking after that young part of ourselves, we can start asking partners to look after that part of ourselves or we wound ourselves.

I have a philosophy, a belief, which I can see in many, many other directors that your early work is your best work, because you don't know what you're doing.