There have always been and there always will be the peripheral sideline activities which are a form of entertainment, which is to say you pay a couple of cents and you see something freakish. That is what reality TV is.

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.

I'm old enough to have friends and contemporaries who have long since retired, and that's their prerogative - enough is enough; it doesn't mean a thing to me. But I haven't got any money, so, you know, I just keep on working.

I've walked out of films. But for every film I've ever walked out of, I've probably walked out of 500 plays.

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

When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.

I make films because I am endlessly fascinated by people. I'm fascinated immediately to know about the lives that are going on around me. That is what drives me. And that is because everybody matters, everybody is there to be cared about, everybody is interesting and everybody is the potential central character in a story. Judging people is not acceptable.