There's always been this strand of filmmaking in Britain which is like socialist neo-realism. That's always been there. I've never been part of that, really; I've been much closer to fantasy.

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.

I look at the story, I look at the idea and just try to think of it in terms of that whole body of myth and see where the characters fit in and what they ought to be doing-all those archetypes are there to play with.

All the great legends are Templates for human behavior. I would define a myth as a story that has survived.

And you poor creatures--who conjured you out of the clay? Is God in show business, too?

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

What is passion? It is surely the becoming of a person. Are we not, for most of our lives, marking time? Most of our being is at rest, unlived. In passion, the body and the spirit seek expression outside of self. Passion is all that is other from self. Sex is only interesting when it releases passion. 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 and that soon, come what may, we will be wholly so.