I'm part of an industry that everybody wants to be a part of. I do hang out with a lot of sort of powerful, interesting people like Bella Freud or Jay Joplin or Tracey Emin. I'm part of that group of people. Brit artists who are doing things. That's what I do. Some of them happen to be aristocrats.

I found my friends very amusing the first time because they are funny and amusing. They really are because they're people who've got everything. They're sort of like camp caricatures of what you expect an aristocrat should be: vicious, rude, caustic unpleasantries.

I know I'm part of the changing process of the way we look at things.

I did make some money, the first money that I ever made, doing this last one, and it's an extraordinary feeling just being given the freedom to do something.

When I was thirteen, I had a nervous breakdown, and I was put into this grown-up mental hospital with all these 50-, 60-year-old men and women. This big, Victorian mental house. There were like five boys in there, all my age, looked after by this woman who was 22 or 23. And it was like "Empire of the Sun" meets "One Flew Over the Cuckoo's Nest"-type of arrangement where you've got this young boy overcoming and becoming heroic in the face of this awful place.

As I found out making this last movie ["Method"], if you ever do things in an unusual, different way, you got to fight because there's no way people will let you.

Whether it's Dorothy Parker or Oscar Wilde, they're brilliant with genius bon mots. Of course, I find them extraordinary.