I feel very much ideologically, politically if you like, and emotionally part of the European cinema.

I try and create for the audience something that relates to real-life experience.

But films should be voyeuristic. What else is a film if you’re not snooping into somebody else’s lives?

Films are made all over the world all the time and only a thin slice of that product is Hollywood.

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.

I think the camera has got to be motivated. You can't have things arrived at gratuitously. Everything has to have an organic function, but the more comfortable I've become and the more imaginative and sophisticated and the more exploratory I've become at the medium, the more I've subtly deviated away from that in various ways.

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.