If you do an interview in 1960, something it's bound to change by the year 2000. And if it doesn't, then there's something drastically wrong.

[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.

Each day, as you get older, there is a new perspective on life. It's a progression of some sort.

With [Fred] Zinnemann I did A Man For All Seasons. He was my screen godfather. I'm happy to say he was.

I wanted to work with those boys (producers Andy and Larry Wachowski) because they're so eccentric and peculiar. Larry, of course, is halfway towards being a woman now. It's a crazy world.

Very, very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons. It's a great relief to feel that you're working with someone rather than for someone. You don't feel that you're being tested, as it were.

Snowpiercer has both [optimistic and pessimistic]. It was essentially optimistic. The most pessimistic was my part, because of his knowledge. He knows how it started. The status quo, he knows, has to be maintained, otherwise there is no chance. He knows that this revolution is completely understandable and is also commendable. He also knows the negatives. In the end, that's not a very positive position to be in.