There were two sides to David Lean: on the one side, he was kind of a rather stiff, disciplined Englishman. And then he had this kind of romantic side to him. I think being true to both sides of your nature is important.

In the '60s and '70s it was a great period for American films because studios were still run by individuals who worked off the seat of their pants and went along with things. At that time, they were very uncertain about what to make because of the influence of television. A lot of really terrific movies were made. But then the studios gradually became more corporate and were owned by corporations and run in that way and now they're very nervous. You see what they make - sequels, franchises and try not to take risks.

The more extreme and the more expressed that passion is, the more unbearable does life seem without it. It reminds us that if passion dies or is denied, we are partly dead.

Black-and-white gives you that sort of parallel world. Also, it's very close to the condition of dreaming, to the unconscious.

I'm trying to suggest a kind of Middle Earth, in Tolkien terms. It's a contiguous world; it's like ours but different.

Up until the middle to late '60s, it was a choice to film in black-and-white or color. But then television became so vital to a film's finance, and television won't show black-and-white. So that killed it off, really.

It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.