I'm developing the stuff all the time. There's a film in my head. I'm imagining a film.

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

It's an unhealthy habit to say that life is what you make of it, and if you want to be happy, then you can be happy. That's just rubbish, basically.

But actually I make films that I think are extremely sophisticated and cinematic.

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.

There is a great tradition of independent filmmaking in the U.S. that I absolutely respect. There's some wonderful stuff that comes out in this country against all the odds.

In the first place, I'm pretty thorough about whom I choose. I instinctively look for the kind of actor who is going to be trusting. There are all kinds of insecure people out there called actors.