In a world where we can all be our own filmmakers, the old elites are disappearing and there is no desire to look at somebody else's dream anymore because you can go off and make your own.

I've always been fascinated by maps and cartography. A map tells you where you've been, where you are, and where you're going -- in a sense it's three tenses in one.

Many quite popular films are filled with violence. I think the difference between those and my films is that I show the cause and effect of violent activity. It's not a Donald Duck situation where he get a brick in the back of the head and gets up and walks away in the next frame. Mine have violence which keeps Donald Duck in the hospital for six months and creates a trauma which he will remember for the rest of his life.

Here was opportunity to make an audience walk and move, be sociable in a way never dreamed of by the rigors of cinema-watching, in circumstances where many different perspectives could be brought to bear on a series of phenomena associated with the topics under consideration. Yet all the time it was a subjective creation under the auspices of light and sound, dealing with a large slice of cinema's vocabulary.

My favourite film-maker west of the English Channel is not English - but to me doesn't seem American either - David Lynch - a curious American-European film-maker. He has - against odds - achieved what we want to achieve here. He takes great risks with a strong personal voice and adequate funds and space to exercise it. I thought Blue Velvet was a masterpiece.

Works of art are never finished, just stopped.

I do feel for me that cinema has somehow ceased to be a spectator sport. I get tremendous excitement out of making it rather than watching it.