Making the ballet really taught me how to get things moving. Ballet dancers don't stand still.

Some Jungian or Freudian would tell me I'm just trying to go back to the womb... at gunpoint, if necessary.

Hollywood isn't exactly dragging me, or even aware of me.

No one ever gets to see Foley artists at work, and they're so strange. They see the world differently: things as things that might make sounds that sound like other things. They see the whole world that way - like when you're a house painter, all you see is a bunch of houses that need painting.

I'm a nervous wreck. If it's a 20-day shoot, at lunchtime on the first day, I'm thinking "Only 19 and a half days to go... I can make it!"

The spirit of my films... I always want them to be kind of contrarian. Meticulous on the one hand, but unbelievably sloppy and careless on the other. I guess that's what you get anyway, if you're not planning very much.

Whatever experimental film aromas cloaked my movies were because I'm a gleefully clumsy, primitive filmmaker. I really like traditional pleasingly narrative films, but I also just couldn't resist throwing in the disruptive. It seems to me that art-house film is at its glorious zenith right now, maybe it can even get better? There's just so many good films, you know Cemetery Of Splendour, Arabian Nights, Miguel Gomes, just so much great work coming out.