When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else.

I'm a fan of music from all over the world.

A lot of the aspects of the world of the film are amalgams of things that already exist.

If you make a film set in London or in Pakistan or wherever, the thing that interests me is the relationships between individuals - individuals and society, individuals and their family, their girlfriend or boyfriend, it's all the same idea.

We always had the idea that there might be two slightly different versions of the same thing.

There's still a 1950s view of cinema, that there's one audience and they all want to see the same thing.

I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.