The directing of a picture involves coming out of your individual loneliness and taking a controlling part in putting together a small world.

Talk to them about things they don't know. Try to give them an inferiority complex. If the actress is beautiful, screw her. If she isn't, present her with a valuable painting she will not understand. If they insist on being boring, kick their asses or twist their noses. And that's about all there is to it.

Whenever something is convenient or was modified after 1970, you probably shouldn't use it as root.

What you try to become is a bringer of magic, for magic and the truth are closely allied and movies are sheer magic ... when they work, it's, well, it's glorious.

You walk through a series of arches, so to speak, and then, presently, at the end of a corridor, a door opens and you see backward through time, and you feel the flow of time, and realize you are only part of a great nameless procession.

I relieve myself from the rigours of directing by casting the movie correctly.

Once you have found the right shot to introduce the scene-written your first declarative sentence-then the rest flows. You've found the key to the whole scene.