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.

There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.

I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.

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.

Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.

People have been very resistant to giving me more than the standard amount of money. So I keep making films on a similar scale. Which is fine, but also frustrating.

Very occasionally I hire an actor and get it wrong. The actor just doesn't trust the process or me as fully as I thought they would. In this case, you can be quite sure that if an actor is untrusting, it's got nothing to do with me or the process.