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.

I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.

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.

When actors are being defensive and defending their position, that is when you get less than good acting.

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.

I think most films are too predictable. They follow familiar patterns. I suppose audiences like to know where they stand but I like films that take me by surprise, take unexpected turns and twists.