You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.

Lotte Lenya was all emotion. She wasn't anything but emotion. She was not an intellectual.

Obviously, the arrogance of my own nature in regards to other people's work would suggest that I think I'm talented.

I loathed school. I don't have an academic mind, and besides I was so bored by my teachers! How teachers can take a child's inventiveness and say yes, yes, in that pontifical way of theirs, and smother everything!

On the other hand, you get other films that are spread over a much longer period of time and it's entirely exhausting. But there's always light at the end of the tunnel with a film.

I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the film-makers come from, it's where they start and sometimes its where they should have stayed.

A very, very impressive director, Tomas Alfredson. It's only his second film [ 'Tinker Tailor Soldier Spy'], but he's a real find.