The common misconception is that we create films for ourselves. And I really don't do it for myself. I get stopped in the street by people saying, "Do you mind if I say this about your work?" Do I mind? I'm delighted. I do it for you. It's not for me. It's my living, yes, sure.

There is always a better choice that you were unable to quite touch with a single stroke. Even in acting, there comes a point, like a painting, where you have to say, "That's it. I can't go any further with it." And sometimes, you say, "I'm really pleased that that's where it's finished up." Other times, you think, "I don't think I really quite got there, but I haven't got time to go any further." Rather reluctantly, you have to say "That's it."

If I hadn't been a part of [Harry Potter] I would have been deeply upset.

'The Elephant Man' was hugely enjoyable to do. I thought the one stage, when Chris Tucker did the first makeup and it took 12 hours, I thought they'd actually found a way for me not to enjoy filming.

We're all far too afraid of being so arrogant to say "Either you can or you can't."

I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.

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.