There was a village watercolour society and they'd come and paint in my field. I watched them from the window, the way they would struggle this way and that to find the perfect moment. God has made every angle on that beautiful, and I felt that tremendously.

I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.

Movies which set out to be 'commercial' usually have an artificial look about them-a certain waxlike quality. They allow for no failure, no moment of mistake.

The rules are learnt in order to be broken, but if you don't know them, then something is missing.

But in marketing, the familiar is everything, and that is controlled by the studio. That is reaching its apogee now.

You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.

There was a village watercolour society and they'd come and paint in my field. I watched them from the window, the way they would struggle this way and that to find the perfect moment. God has made every angle on that beautiful, and I felt that tremendously.