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.

Life is about luck and it's about circumstances and socioeconomic conditions and all the rest of it, but you know, you can also make choices. It's about spirit and generosity and all the other things, too.

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

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

I try and create for the audience something that relates to real-life experience. When you're meeting somebody for the first time, all you have to go on are your preconceptions and your stereotypes and whatever else, but gradually as you get to know them, they change. They become more three-dimensional, and you start to see them in layers.

The good thing from my perspective is that nobody puts any pressure on me to say what it's going to be. The backers accept that they don't know what they are going to get.

I think Michael Caine is a perfectly good actor but it's obvious he's not going to be in one of my films.