When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

I made my first film on 16mm. Then I began using 35mm.Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn't very impressed.

In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.

It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.

Then I became interested in drama, and almost by accident, I drifted into film.

I never had any urge or desire to do like a big spectacular movie with thousands and thousands of extras. I'd rather watch paint drying. But put me in a room with three people having a hard time, like a character situation, and then you're into a really intense portraiture kind of concept.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.