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.

One of the reasons the whole Hollywood way of making films wouldn't work for me is because the way I operate would be anathema to anyone who wants to hold a job down in Beverly Hills.

If a film or any piece of work doesn't entertain, it fails - and that is using the word entertain literally, meaning it holds you there and you become absorbed by it so that you don't walk away and get bored and so on.

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.

It creeps up on you and becomes an obsession. It comes out of watching a million movies.

The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.

I discover what my film is by embarking on the journey of making it.