The image onscreen takes you forward, it's the driving force of the piece and it's also the information that you're given.

Once you've started to dig a hole, you can't get out of it.

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

I often say, with something like 'The Elephant Man,' had it been an American series for television, where you have to sign your life away for seven years...well, maybe I would never have made 'Sailcloth.'

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.

I think [ Lars Von Trier] is a fantastic filmmaker. No question. You've got to be ready for him. He's sharp and he's got a sharp tongue and I love that. He doesn't mind it back.

From John Huston to Fred Zinnemann and Richard Fleischer and all those great American directors.