The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.

The reason my films work is because every actor on set is very secure. They're able to fly.

As a general habit and general tendency, I prefer not to bog a piece down with a great number of transitory, contemporary references, because in the end, I'm concerned, not in an abstract way, but an actual way, with creating a world which has a universality to it - even though what goes on is made up of texture and detail, contemporary detail.

Given the events of even the 19th century, Zionism was inevitable. Given the events of the 20th century, Israel was inevitable.

I really think people are greatly stimulated and enriched by experiencing in film just as we can from novels and other art, experiencing things that resonate with what our lives are about. I think people really want to know... want to share, want to have the stimulus to think and care about the way they live their lives, the way they relate to other people, their aspirations, their hopes, et cetera.

I've long since stopped worrying about how I'm portrayed in the press because ultimately it's not that important. Everyone who knows me knows I do what I do with the greatest integrity.

The delineation between the actor and his part is a practical matter. When the camera runs, you want the actor to be the character.